By Paolo Belardi
Why might an architect achieve for a pencil whilst drawing software program and AutoCAD are a click on away? Use a ruler while 3D-scanners and GPS units are shut handy? In Why Architects nonetheless Draw, Paolo Belardi deals a sublime and ardent protection of drawing via hand as a manner of pondering. Belardi is not any Luddite; he doesn't urge architects to renounce electronic units for watercolors and a measuring tape. fairly, he makes a case for drawing because the interface among the assumption and the paintings itself. A drawing, Belardi argues, holds inside of it the whole ultimate layout. it's the paradox of the acorn: a venture emerges from a drawing -- even from a comic strip, tough and inchoate -- simply as an oak tree emerges from an acorn. bringing up examples not only from structure but additionally from literature, chemistry, track, archaeology, and paintings, Belardi exhibits how drawing isn't really a passive recording yet a second of invention pregnant with inventive chances. relocating from the cartoon to the survey, Belardi explores the that means of dimension in a electronic period. A survey of a domain may still transcend width, peak, and intensity; it needs to contain extra dimensions: heritage and tradition. Belardi exhibits the sterility of concepts that price metric exactitude over cultural appropriateness, arguing for an "informed drawing" that takes into account greater than meters or ft, stone or metal. Even within the age of digital media, Belardi writes, drawing can retain its position as a cornerstone of structure.
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To the left of the avenue there stretched a vast area of vegetable gardens and, as I later learned, the botanical garden, around the two buildings of the balneary and the infirmary and herbarium, following the curve of the walls. Behind, to the left of the church, rose the Aedificium, separated from the church by a yard scattered with graves. The north door of the church faced the south tower of the Aedificium, which offered, frontally, its west tower to the arriving visitor’s eyes; then, to the left, the building joined the walls and seemed to plunge, from its towers, toward the abyss, over which the north tower, seen obliquely, projected.
This kind of surveying has its roots in the Renaissance and is a particularity of some European architecture, but one that is applicable to our modern era, and not simply here on the old continent. In this lecture I’ll make the arguments for its importance to architects everywhere. I’ll support my thesis with references from outside of architecture, and with quotes in various languages (though I’ll be sure to translate). This text is supposed to be open to everything and everyone, despite the difficulty in the “translation” of the name of a discipline—the architectural survey—which has its roots in Renaissance humanism and, if you look closely, is something that has until now been peculiar to the Italian architectural tradition.
Use all available representational techniques, from a pencil to a mouse, with a pluralistic attitude that will ultimately be good for your creativity. More than a century ago a sarcastic Karl Marx, in the middle of a similar epoch-making period, was wondering about the future of the god Jupiter in the age of the lightning rod, or of Mercury in the face of Crédit Mobilier. Just so we might wonder today about the future of Diboutades or Saurias of Samos—mythic inventors of drawing—in the electronic media age.