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![]( "Buchcover ISBN 9781118700617")
Focusing on the creative and inventive significance of drawingfor architecture, this book by one of its greatest proponents, Peter Cook, is an established classic. It exudes Cook's delight andcatholic appetite for the architectural. Readers are provided withperceptive insights at every turn. The book features some of thegreatest and most intriguing drawings by architects, ranging fromFrank Lloyd Wright, Heath-Robinson, Le Corbusier, and Otto Wagnerto Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Arata Isozaki, EricOwen Moss, Bernard Tschumi, and Lebbeus Woods; as well as key worksby Cook and other members of the original Archigram group.
For this new edition, Cook provides a substantial new chapterthat charts the speed at which the trajectory of drawing is moving. It reflects the increasing sophistication of available software andalso the ways in which 'hand drawing' and the 'digital' are beingeclipsed by new hybrids--injecting a new momentum to drawing. These 'crossovers' provide a whole new territory as attempts aremade to release drawing from the boundaries of a solitary moment, asingle-viewing position, or a single referential language. Featuring the likes of Toyo Ito, Perry Culper, Izaskun Chinchilla, Kenny Tsui, Ali Rahim, John Berglund, and Lorene Faure, it leads tofascinating insights into the effect that medium has upon intentionand definition of an idea or a place. Is a pencil drawing moreattuned to a certain architecture than an ink drawing, or is aparticular colour evocative of a certain atmosphere? In a worldwhere a Mayer drawing is creatively contributing somethingdifferent from a Rhino drawing, there is much to demand of futuretechniques.
For this new edition, Cook provides a substantial new chapterthat charts the speed at which the trajectory of drawing is moving. It reflects the increasing sophistication of available software andalso the ways in which 'hand drawing' and the 'digital' are beingeclipsed by new hybrids--injecting a new momentum to drawing. These 'crossovers' provide a whole new territory as attempts aremade to release drawing from the boundaries of a solitary moment, asingle-viewing position, or a single referential language. Featuring the likes of Toyo Ito, Perry Culper, Izaskun Chinchilla, Kenny Tsui, Ali Rahim, John Berglund, and Lorene Faure, it leads tofascinating insights into the effect that medium has upon intentionand definition of an idea or a place. Is a pencil drawing moreattuned to a certain architecture than an ink drawing, or is aparticular colour evocative of a certain atmosphere? In a worldwhere a Mayer drawing is creatively contributing somethingdifferent from a Rhino drawing, there is much to demand of futuretechniques.
