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Index
Cover
Half Title page
Title page
Copyright page
Dedication
Acknowledgements
Introduction
Perhaps the ideal way in which an architect can approach the act of drawing is to be unaware that he is actually doing it at all.
Chapter 1: Drawing and Motive
Finding the Appropriate Visual Register
Experiment and Graphic Vision
Communicating with Clarity
Chapter 2: Drawing and Strategy
The Seen, the Unseen and the Seductive
The Strategy of Implementation vis-à-vis Confrontation
The City Transfigured and the Soho Project
The Advanced Five-Finger Exercise and Fast Company
Chapter 3: Drawing and Vision
Viennese Visionaries
The 20th-Century City-Figure
Vision Intensified
The Genesis of Vision
Drawing as Statement
Chapter 4: Drawing and Image
Choosing the Means and Transcending the Medium
Mannerism
Paper Architecture
Imagery as Imagery
Thought-Through Technique: Ensnaring Spontaneity
Chapter 5: Drawing and Composition
Composition Revived
The Champion of the Axonometric
Who is the Audience?
Compositional Hybrids and the Collage Drawing
Chapter 6: Drawing with Expression and Atmosphere
The Power of the Depictive Image
The Calm and the Slamming
The Observer’s Culture
Extending the Cultural Limits
Shifting Position
Architectural Narrative
Chapter 7: Drawing and Technics
Operational Drawings
Architecture as Body-Wrap
Tectonic and Representational Range
Subtle Technology and Nuance
Drawing in Process
Chapter 8: Drawing and Surface
Digital Dispassion
Substance and Atmosphere
Elaboration and Overstatement
Conveying Character
In-Built Metamorphosis
Chapter 9: Beyond Drawing – Beyond Reality
A Field of Speculation
Holding Off the Tedium of Reality
The Exploratory Scribble as Model
West Coast Wonderland
Creativity Explored
The Drawing Redefined
Chapter 10: Digital–Manual Drawing and the Power of the Eye
The Recognitive Eye
The Manipulative Eye
The Seductive Eye
The Back-and-Forth of the Digital
The Scribbler, the Weaver, the Embroiderer, the Whittler, the Gadget-Maker
Key Search Terms
Picture Credits
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