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TitleArchitectural thought: the design process and the expectant eye
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Table of Contents
                            Architectural Thought: The design process and the expectant eye
Copyright Page
Contents
Introduction
Time
Two temples
Can we describe how we design?
Three monuments
Witnesses
Thinking & drawing
Was it like this?
Travel, books & memory
The vernacular & style
Materials
Structure
Light
Architecture & language
Looking at pictures
The office & the school
Does it matter?
Critical innovation
Afterword
Notes
References
                        
Document Text Contents
Page 2

Architectural Thought:
the design process and the expectant eye

Page 95

a transparent acrylic model may reveal the anatomical arrange-
ment of floors but say nothing about how it would feel to be
inside the building.

In many periods there is a general reciprocity between
architects’ drawings and the formal architectural vocabulary.
The choice of axonometric projection; of a bird’s eye view tilted
usually at 45 degrees, suggests an emphasis on the juxtaposi-
tion of masses rather than the frontal impression of façades so
dominant in renaissance architecture. The intentions behind a
drawing such as that for a cathedral in Freibourg by Alberto
Sartoris exhibited in 1931 is very similar to those that influenced
the view of the High Museum in Atlanta, Georgia, of 1980 – 83 by
Richard Meier. Many drawings from the office of James Stirling
reverse the axonometric making it a worm’s eye view that
negates the roof but emphasises the ceiling. Choisy had used
the method in the 19th century to explain in a single drawing the
plan, section and vaulted ceiling of cathedrals.

To look at another 19th century illustration, say the view
of the Gardener’s House in Charlottenhof near Potsdam by Karl

94 Right
Laban Dance Notation.
The dancer hops back-
wards turning 180 degrees
anticlockwise, rounding
the body forwards bending
the right leg underneath
her, arms rounded in front
of the body. S/he then runs
forwards and leaps, curv-
ing the body to the left,
arms extended either side
of the body, landing with
the right arm bent at the
elbow so that the fingertips
touch the shoulder (dia-
gram & text by Jean Jarrell,
Senior Lecturer, Laban,
2003)

Page 96

95Right
Alberto Sartoris,
Freibourg Cathedral com-
petition submission, 1931

Below right
Choisy, Santa Sophia,
Istanbul; plate from
�Histoire de l�architecture�
1899; Le Corbusier used
Choisy’s drawings in
�Towards a New
Architecture� 1927

Page 190

Neuman, Balthasar., 11, 146, 147
Nijo Castle, 132, 133
Nouvel, J., 133

O
Orvieto, 109
Osaka World Fair, 139

P
Palace of the Liberal Arts, 29
Palladio, A., 116, 117
Parker, H., 113
Pattern Language, 23–5, 152,

172
Pellechia & Meyers, 67
Phillips Exeter Academy

Library, 85, 145
Photography, 115
Piano, Renzo, 63–5, 73, 74, 76–9,

138, 141
Piranesi, G.B., 103
Plan, the, 84–9
Pompidou, Centre, 138
Popper, Karl, 32–7, 174–5
Prown, Jules, 67
Pugin, A.W.N., 166, 171

Q
Quatremère de Quincy, 165–6
Queen Hatshepsut, 128

R
Rice, P., 138–42
Richards Medicinal

Laboratories, 29, 31, 86
Richard Rogers Partnership,

31, 92, 141

Robbins, E., 79, 97
Rogers, Richard, 138
Rome, 15, 46, 50, 103–4, 113, 120,

166, 171
Rossi, A., 21
Royal Building Administration,

165
Ruskin, 131
Rykwert, J., 82, 152

S
Saarinen, E., 128
Sartoris, A., 94, 95
San Gimignano, 29
St Barbara, Kutná Hora, 89
St Jerome in his Study, 42, 61
Scarpa, C., 128–9, 135, 173, 179
Scharoun, H., 40
Schinkel, K.F., 40, 96
Selimiye Mosque, 163
Semper, G., 107
Senmut, 119,128
Serra, Richard, 60
Served and servant spaces, 24,

29
Sinan, 163–5
Soane, Sir John, 46, 47, 87
Soane, Sir John’s house, 88
Stereo vision, 116
Stirling, J., 94, 128
Summerson, J., 152
Sydney Opera House, 150

T
Tange, K., 139
Taut, M., 98
Tavernor, R., 82

189

Page 191

Topkapi �Serai�, 164
Tscernichow, J.G., 70, 71
Typology, 21

U
Uf�zi, Florence, 47�8, 49
Urban farmyard, 105
Utzon, J., 139, 146, 149, 161, 162

V
Vierzehnheiligen church, 10�12
Viollet-le-Duc, 142, 143
Virginia, University of, 117

Vitra International Furniture
Museum, 65

Vitruvius, 9, 101, 107, 122�3

W
Weathering, 127, 128
Wilson, Colin St J., 39�44
Wood, John the Elder, 101, 102
Wood, John the Younger, 102
Wright, F.L., 116, 131, 172

Y
Yale Center for British Art, 67

190

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