In what ways does drawing intrude in the development of architectural forms?

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Architectural drawing is a representation of an object that is yet to be realized. It is a medium from an idea to a tangible object, which means an idea has to be somehow drawn before it is built. In this way, an architectural drawing dictates what the building is going to be like.


Functionalist tradition of Modern Architecture suggested rationality, technological advanced and perfectly functional system that is based entirely on the carefully quantified needs and requirements of its users. It sought to present itself as the perfect model of the human experience. Thus, the drawing that it used to represent itself ought to be able to accentuate this perfectly image of Modern Architecture, which has in turn had an impact on the final form of the building it produced.


Modernist, like Le Corbusier, proposed the idea, “form follow function”, which means the functionability of a building should be the foremost consideration before the form. During the period, axonometric and isometric projections drawings were preferred because they represent practicality and functionability of a building much better than perspectical drawings. Due to the reason that axonometric and isometric projections drawing are easier to generate straight lines instead of curve lines, Modern architectural form has therefore always ended up as cubic or orthogonal in nature. In addition, these projections drawing have also resulted in the form of the modern buildings where decoration is not important. Thus, Modern buildings are mostly plain, cubical, and perhaps identical.


As time has changed, old architectural style has gradually been taken placed by the new styles and new movements; the style of drawing being adopted in architectural profession has undergone a transformation as well. New movement founded, to deliberately oppose the Modern movement, with the goal of dissolving the fixed and determined forms of the Modern. Deconstructivism as one of them seeks to reveal the dynamic formal possibilities that lay within the program offered by the institution and its context. Unsurprisingly, axonometric and isometric projections drawing that were preferred by the Modern movement has not been seen to be adopted by Deconstructivism. Instead, new drawing styles, especially those generated by computer technology are preferred.


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Architectural drawing as representation is a form of communication. Like other sort of communications, it also suffers from distortion due to human error and limitation. Therefore, a drawing does not always fully represent the actual design idea of the designer. A more serious problem would be the deformation of the role of architectural drawing.


This role of the architectural drawing as a representation has changed overtime and has become a seemingly separate entity from the object it represents. Like other visual art, architectural drawing now emphasizes on visual effect. It does not matter weather it represents the actual idea, but as long as it looks good.


This phenomenon is most probably caused by the continuing pressure of society where architect should produce something that looks good. “Architects are artistic people.” And it is a shameful thing for architects to produce something that looks ordinary, dull, and boring. The emerge of computer graphic that can produce fancy and fascinating image has even worsen the condition. The gap between representation and reality is now bigger. Architecture is now suffered from, according to Evan, vastly idealization, distortion or transmogrification. To rescue architecture from this bondage is to get rid of the over-dependency on architectural drawing. It is to get back to the fundamental where drawing is essentially a representation but not the protagonist of a true architecture.


Daniel Libeskind’s drawing which can be found in Hays anthology is perhaps a good example. I personally can’t see what exactly is suggested by his incomprehensible sketches. They certainly look good, but I am afraid they are probably just aesthetic without content. Like the story of the “emperor’s new clothes”, no one dares to say they can’t see or they don’t understand because they think they are smart, or they fear people might know they are actually unintelligent. It might be offensive to say that Daniel Libeskind’s sketches are like the “emperor’s new clothes”, but they are for me, confusing and deceiving.


Architectural drawing is to convey and to make clear, not to confuse. It is the ‘architecture’ that architects are designing, not the drawing. Architecture suggests something spatially tangible, something that should be able to be experienced visually and physically in three-dimensional form. If two-dimensional architectural drawing is to be taken too seriously, even being overly emphasized than the end product, the true hidden potential of architecture will be suppressed and limited.





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