Courtesy of DOM Publishers The following excerpt was originally published in Natascha Meuser's (DOM Publishers). With our industry's technological advances, 'the designing architect is not simultaneously the drawing architect.' Meuser's manual aims to help architects develop and hone their technical drawing skills as the 'practical basis and form of communication for architects, artists, and engineers.' Read on for ten freehand drawing exercises that tackle issues ranging from proportion and order to perspective and space.

What is beauty? A few years ago, a group of international researchers sought to unravel the mysteries of human beauty. They used state-of-the-art, totally impartial computer technology and a huge dataset to establish once and for all why particular faces are perceived as beautiful, and whether beauty exists independently of ethnic, social and cultural background; in other words, whether it can be calculated mathematically. The scientists input countless photos of faces from all over the world, each described by survey respondents as particularly beautiful, into a powerful computer. The resulting information, they believed, could be used to generate a face that would be recognized by any human being as possessing absolute beauty. But what the computer eventually spat out was a picture of an ordinary face, neither beautiful nor ugly, devoid of both life and character. It left most viewers cold.

The accumulated data had created not superhuman beauty, but a statistically correct average. Courtesy of DOM Publishers But that is precisely what you would expect of a computer. Here, I want to examine the relevance of this anecdote to architectural beauty, and discuss whether drawing by hand, a skill fast disappearing from everyday practice, is one worth preserving. It would appear to be a relic of the past – but does that mean that computer-generated images are the future? Thanks to modern design and display software, the intention of this book may seem quaintly anachronistic. Would any architect today think of presenting a client with a building detail drawn in Indian ink, or a perspective in pencil? Clients often expect designers to produce pixel-perfect images right from the beginning of the design process, looking not unlike photographs at first glance.

And even before the ground is broken, a virtual idea has already acquired the authority of a tangible reality that serves as the benchmark during the construction process. Often, the client is disappointed because a detail bears no resemblance to the initial plan.

Sometimes, poor-quality rendering ends up provoking a protracted legal dispute: was the balcony supposed to be made of reinforced concrete, or just brightly painted steel? Like it or not, the computer is a handy desktop tool, a creativity machine that translates the most outlandish fantasies into physically realizable, fully costed designs that can be altered at a click of a mouse. The resulting photorealistic printout gives form to an idea that has not really even taken shape in the architect’s own mind. Courtesy of DOM Publishers It is easy to forget that, for all its apparent creative talents, the computer is just a machine. The image that emerges from the printer is like that of the perfect face in the experiment, shaped by complex, soulless programs. Paradoxically, the tool we use in an attempt to make it look less soulless is also the computer.

After all, animation means adding life and soul to an otherwise lifeless object, creating a realistic, perhaps even moving image using infallible, invisible and incomprehensible computer code. The spaces inhabited by avatars in computer games are not greatly different to the standard output used by architects to persuade developers, contractors, clients, and competition juries. Precision is the death of thought. Courtesy of DOM Publishers Anyone looking for soul in a building or interior design will not find it in these colorful animated digital images.

Their impressive perfection is artificial and deceptive, their precision a challenge to the viewer’s imagination. To put it bluntly, architects who rely solely on the design skills of their computers are neglecting what was once one of their profession’s core skills since time immemorial: the connection of eye, head, and hand to create sketches, drawings, designs and plans. In the old days, prospective architects had to start by learning to use a pen, analyzing structure, proportion, cubature, light and shade to break down the world into its component parts and reassemble them on the paper. To do this, their eyes and hands had to be trained.

This can be an enjoyable and intuitive process: as my drawing teacher Heinrich Pittner once said, ‘What counts is not knowledge, but inspiration.’ His methods were based on clear principles, and he was not only a teacher but also a poetic artist with a philosophical turn of mind, who used simple exercises to teach the complexity of architecture. He made his students feel that they were both artists and architects. The next person I encountered who displayed this passion for architectural education was Alfred Caldwell, a legendary lecturer at the Illinois Institute of Technology in Chicago. His personality alone made his lectures worth the metaphorical price of admission, and he used to say: ‘The individuality of architecture is always based on personal experience.’ The following chapter is devoted to Pittner’s methods, which teach the basic principles of freehand architectural drawing in nine steps.

The exercises can be carried out in any order, and are anything but comprehensive, but their aim is to introduce trainee architects and other interested readers to one of the most creative areas of architecture. Even experienced draftspeople should find the exercises an enjoyable reminder of their own training. This is also a reminder that the drawing marks the architect’s emergence as creator, giving visible expression to a unique idea without the help of computer programs. While many would say it is an outmoded pictorial technique, drawing transforms the idea into the intangible basis of the entire design process. In this context, and at this stage in the project, the image is not a mirror of reality, but it gives the idea credibility.

Courtesy of DOM Publishers A decision that only the architect can take Architectural drawing is like photography: it is no good having a high-end, feature-packed camera if you lack the ability to compose images and to capture the essence of the subject. Having the technology to generate preliminary architectural and design ideas does not necessarily mean that the final result will be convincing. The choice of medium, be it 6B pencil, drawing pen or watercolor brush, is no guarantee of good architecture, which demands a basic understanding of proportion, perspective, form, and color. The ability to connect the eyes, mind, and hand when designing details, buildings and cities also requires familiarity with a wide variety of architectural cultures, periods, and styles. It entails knowing, based on practical experience, that ideas build on one another, and -being able to absorb and develop traditions and use one’s own outlook and ideas to create distinctive buildings for clients that can be highly valued. Such is the nature of architecture: it is very rarely created in a vacuum and is usually part of a context of variety and difference. Take away the sharp edges of architectural space, and you are left with nothing.

The architect’s penstroke brings it together and gives it form, which assumes an ability to imagine the space and give it proportion, structure, and beauty. Aop 104a dvr drivers for mac pro. Only the architect can take these decisions. Like all talents, architectural imagination and creativity are God-given, but also born of practice and experience.

People who have seen, understood and adapted other people’s ideas are more easily able to come up with ideas of their own, drawing on a rich menu of visual and spatial ingredients. A person who uses drawing to explore the built environment sees its variety in a different light, and perhaps with greater respect, than someone who can imagine nonexistent space only by donning 3D spectacles. Architecture and the art of drawing are inseparable – and people who are good at drawing usually make good architects. Exercise 1: Point and Line Points, lines and planes are the architect’s means of expression and are combined to create the three-dimensional spaces of architecture. This exercise uses only points and lines to build, first, basic geometric shapes, and then landscapes and places.

Compression and changes of direction are used to create the identifying outlines of forms and spaces, define distances and clarify spatial depth. Our approach to architectural space begins with an excursion into art, with a quotation from the painter and Bauhaus teacher Paul Klee: ‘I begin wherever the pictorial form itself begins: with the point that moves.’ Exercise 2: Proportion and Order Every building project begins with a simple exercise: draw, measure, think. Finding harmonious relationships between the parts of a building, and between the parts and the whole, helps to order the elements of the design. The basic principles of proportion are dependent on finding relationships between measurements and have remained almost unchanged since the ancient Greeks and Romans. The golden section, Renaissance theories and ’s Modulor are all based on the proportions of the human body and describe a line divided into sections, the shorter of which stands in the same ratio to the larger as the larger section to the whole.

These laws and relationships allow architects to create meaningful, harmonious connections and are a key moment of creative inspiration. This drawing exercise trains the eye by analyzing the dimensional relationships between geometric solids, and also provides a basic introduction to architecture with relation to elements, construction, and composition.

Exercise 3: Geometry and Space All variety of form depends on identifying measured relationships. This exercise, too, is based on simple geometric forms: the triangle, square, circle, pyramid, cube and sphere, cutting them up and reassembling them in new ways. Architecture derives its endless variety from combinations of two- and three-dimensional shapes, and from projecting two-dimensional surfaces into the third dimension. In the words of Heinrich Pittner, ‘If you want to achieve an outcome, you must see abstraction and reality as a unity. We are architects, not artists, but abstraction is the basis of our designs.’ Exercise 4: Perspective and Space Freehand drawing can be used to learn and practice the right way of seeing, but also requires a basic knowledge of perspective construction methods and their history. In the Middle Ages, space was still seen as a plane, but the Renaissance discovery of vanishing-point perspective brought major changes in the visual arts. This form of perspective remains an important medium of communication for today’s architects, whether they draw by hand or use a computer.

The purpose of this exercise is to learn the principles of freehand perspective and spatial construction. Each point has a measurable position in the space, and the exercise involves drawing two or more simple objects turned or shifted in relation to each other. It takes only a small number of lines to create a three-dimensional representation. The exercise teaches the artistic and technical aspects of drawing, using an enjoyable artistic approach to such simple principles of construction as horizon, viewpoint and vanishing point.

It also entails identifying, absorbing and analyzing dimensions and proportions, because drawing is ultimately about not just knowledge, but the inspiration born of individual perception. Exercise 5: Composition and Space Architectural drawing always involves composition and the abstraction of the depicted space. To draw spatially is to see spatially.

The purpose of this exercise is to build up a composition step by step, creating tensions using hierarchies of detail and whole, center and periphery, front and back, top and bottom, dark and light. This brings out complex spatial relationships and makes visible the forces that form space. In the exercise, simple forms and gradual abstraction are built up and composed on the picture surface. 'Architecture is an artifice, an appearance of inner movement. It goes far beyond issues of construction.

The purpose of construction is to create durability, and the -purpose of architecture is to stir our inner selves. As soon as specific relationships are created, we grasp the work.' Le Corbusier, Vers une architecture (1923) Exercise 6: Man and Space The theory of proportion dates back to Vitruvius and thus the early days of architectural theory.

Up and into the time of the Renaissance, theories of art focused on the notion of human scale and determined the continuity of a harmonious design and proportioning. Vitruvius also factored the proportions of the human body into the tectonic system of a building and placed these in a proportional context. In particular, studies on the human body can be gleaned from Leonardo da Vinci, who was a pioneer in the understanding of human anatomy. Alberti had already demonstrated that each regular shape can be constructed from circles and squares., in turn, discovered a harmonious design of the human figure according to the golden ratio. He named the human figure Modulor which he based on the height of a man with his arm raised and integrated into his spaces for emphasis.

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This art figure is still today synonymous with a style of architecture adapted to suit the human environment. The relationship between man and space will form the content of this exercise.

In the process, the aim is not only to analyze the proportions of the human body but also its proportionality in space. Here it is less significant honing drawing techniques but developing a feeling for a composition of man and space that matters. Exercise 9: Two-minute Sketches Learning to draw means learning to see, as the eye seeks, observes and understands. This exercise aims to encourage- spontaneity by imposing a time limit; the act of producing a rapid initial sketch forces us to decide how much visual information we want to convey. The sketches are a way of experimenting without needing to produce a complete or perfect result. The aim is to develop a strong sense of expressiveness by being confident from the first penstroke.

‘When I went to see Matisse one morning, he was still in bed, but he had his drawing board in front of him and was drawing the same head with great concentration and rapid strokes. Each time he finished one, he threw the piece of paper onto the floor beside the bed and began another, so he was surrounded by a pile of paper. Seeing my surprise, he laughed and said: “I’m like a dancer or a skater. I practice every morning so that when the moment- arrives, I’m completely in control of my jumps and pirouettes.”’ Werner Haftmann, Documenta III (1964) Exercise 10: Freehand Drawing A good plein-air drawing is not simply a depiction of nature under a cloudless sky. It leaves space for inspiration, using the model and natural objects and forms, to practice line and composition.

In this exercise, a single motif is depicted using a variety of techniques, with the choice of drawing medium and color playing an important role. The intention is to encourage visual thinking, design variations, and drawing as a process. If freehand drawing is what we learn from seeing, sketching is an aid to thinking like a designer.

Architects use sketches to test out, change and add to their ideas. Many students do not realize how much creative wealth lies hidden inside them, and freehand drawing reveals the secret of design. To purchase this title and other in the Construction and Design Manual series, visit. 'Practice-related information, exemplary buildings and inspiration in an attractive design and a handy format: with its didactic, user-oriented concept, the Construction and Design Manualseries offers everything architects need for construction project solutions.'

Did you know science shows that gratitude is the single most important trait for happiness? When we are grateful an energy surrounds us that gives our lives passion, excitement, and contentment. So come along with me as we explore some real and effective ideas to create a daily practice that will connect us to our natural, pure state of happiness using a few simple keys to gratitude. Before getting right into the nit and grit: let’s look through the eyes of a child for a moment. I always chuckle inside at the sight of a small child’s facial expressions, body language, and sometimes words when they’re told to say thank you. But why do I have to say thank you? As if it’s a word from another planet. Doesn’t get anymore raw and honest than that.

Why do you think that is? Well, here’s what I think True, the response can stem from not wanting to do the thing simply because mom or dad said so, or possibly the embarrassment of being called out in front of others on their manners, but maybe – just maybe, it stems from something a little deeper than that. Stay with me for a moment. Could it be that a child’s mind in its uncluttered state lives by the law of the universe: Ask and it is given? Could it be that simple? When we think about how children naturally approach life with gratitude – it’s felt when they play, discover a cool bug, roll around in the grass, dip their toes in the ocean – for a child gratitude is constantly in motion. They’re lovin’ life to the fullest, they feel it unconditionally. Could it be that for a child there are no feelings connecting the words thank you to gratitude itself?

The connection hasn’t been rationalized in the mind, it just simply is. They are present in that moment. They are worthy to receive because they are grateful deep within. That’s the natural state, as it’s meant to be, no words attached. Gratitude is Our True Nature Is it possible that this could be the pure unadulterated bliss of gratitude itself? I’m thinking these little beings are on to something here. They’re holding out on us adults.

They know something we don’t. Of course not really. I’m only trying to make the point that from the day we’re born gratitude is a flower that blooms within us simply because it is its true nature. The layers of societal conditioning have not yet skewed it. Little by little as the layers of societal conditions build up, instead of trusting our intuition, we start to question it and begin placing limits and conditions on our gratitude until suddenly our gratitude becomes stripped away of its once naturally blooming state.

Awakening Through Daily Gratitude Practice This life itself is a blessing. Being, itself is enough cause to feel grateful, and then to be able to experience the beauty of human consciousness is one of the greatest blessings we have received.

Here are some ideas that will enable us get in touch with our deepest sense of gratitude. Greet the Morning with Gratitude Begin by waking up every morning and before even getting out of bed, try to feel deep gratitude for just being, you have awoken with the opportunity to experience a brand new day of this wonderful existence – that in itself is a blessing! Give Thanks Ever noticed how many times we say thank you in a day? It’s a statement that, without any intention, can be over used and taken for granted if we’re not careful.

Next time you say thanks I challenge you to actively pay attention to what you’re saying it for. Is it an autopilot pleasantry, so to speak? Try to stop and really relish in the moment so that you can gain some deeper clarity on what you’re saying thank you for. Be present and allow it to really mean something.

Practice Gratitude Affirmations According to the Chopra Center for Wellbeing daily affirmations help to keep small things in perspective, promote a healthier heart, keep us focused, and keep us in a constant state of gratitude. Try this simple exercise and read these affirmations to yourself or out loud as they come on the screen. Notice how you feel afterwards. Eventually you may desire to create your own affirmations by making a list of things you are personally grateful for. Keep a Gratitude Journal Write down things from your day that make you feel good. From things as simple as your morning tea, a hug from your child, a beautiful sunset, to major things like a job promotion, or a life lesson learned.

It can be one thing, three things, or many things. It will vary each day so it’s not about how many things you write, or even if you write every day, once a week may work for you. Focus more on elaborating on the feelings attached to the thing so that you practice building consciousness around being grateful.

Connect with a Spiritual Practice Whether it’s connecting with God, the Great Spirit, the Universe, Mother Nature, etc. Spirituality and faith are key ingredients for humility, which in turn makes us realize we are not the center or source of the universe, which in turn gives us gratitude for something much bigger than us and the human ego. Keeps us in touch with the many things we have to be grateful for. Invest in Experiences Over Possessions Obviously the idea is not to stop being grateful for our possessions. It’s just to stress that possessions come and go. One can be void of possessions yet be rich in life experiences that last a lifetime.

Research shows that people who invest in experiences rather than possessions are happier. Volunteer and Give Back Among those who have more than enough, the quality of gratitude can be seen in the way that they freely give to others for the purpose of creating life enriching experiences for them, in turn investing in and enriching their own experiences. It’s important to keep the vibrational frequency of gratitude alive. Write a Gratitude Letter This is a great way to express how grateful you are for the people in your life. You can even share and read it aloud to the individual.

Bring some tissues just in case. Now this one may be a bit uncomfortable for some, but don’t forget to write to a letter to yourself. After all gratitude is a reflection of who you are inside, so being grateful for who you are first, will allow you to be even more grateful for others. One of the best ways to live life as your true self is to practice gratitude. Rest Peacefully Feeling Grateful Prepare for bed by slowly beginning to allow your mind to sink into grateful thoughts, letting go of all judgement. Go to sleep each night with a deep sense of gratitude for just being. Feel it down to the core of your whole mind and body.

Practice and Repeat to Attract More Gratitude in Your Life When we practice feeling grateful for small things our whole sensitivity will increase. When sensitivity happens every moment will pass in deep awe of the happenings in existence. As with any practice, it is important that it resonates with you as an individual, so have fun catering these ideas in ways that work for you. As always, I am grateful for all of you awesome readers and love to hear your comments and experiences.