Robbins why architects draw

It demands a give and take and social compromise. It allows for both the virtual and between the architect and his or her subject, and between the real and it provides an instrument for individual cre- the architect and others with different interests, tempera- ativity, conceptual communication, and social interaction.

As in all art worlds, a series of individual and differ- for open dialogue and a way to distinguish architect from ent skills and creative energies must be molded into a unity. The drawing allows the architect to compose a de- On the other hand, and at the same time, in a world sign, to orchestrate it, and to conduct the many players where status, social resources, and cultural authority pro- who will realize it. But like any good conductor, the ar- vide one with a meaningful and powerful voice that will be chitect must balance between the cultural and social control heard within the cacophony of competing and different that drawing gives and the need to be receptive to the many voices, what is a generous process of give and take becomes and often discordant voices that go into the making of one also of competition, manipulation, and a conflict over architecture.

In the final analysis this demands not only who has the right and the authority to be heard. In such a control but restraint, and the ability not only to command world, our world, the ability to control not only what is but to be commanded. To command over what they are designing and without the the extent that architects can define the discourse of archi- authority and the concomitant control this gives them over tectural making, they can also claim a lesser or greater the making of architecture, the practice of architecture and degree of authority, reward, and social status and position.

As autograph that lays claim to design and the rewards that Nonetheless, opening up a dialogue about drawing between should emanate from it, and as allograph, or open text, that anthropological outsider and architectural insider, even to allows for a broad discourse about design, the drawing sets out both the social and cultural tasks of the architect. The way we use and understand media, and the relation of the virtual to the real, are today being rapidly transformed.

As a result, how we allocate social responsibility and posi- tion to those cultural actors who use these media and deal with the relation of the virtual to the real will also be transformed. A dialogue about drawing among architects and between architects and others is a crucial place to begin.

There are numerous books about drawing in general. Notes The most complete is that by Rawson Lambert has written an informative introduction to the subject. A most interesting collection of articles about architec- tural representation and collection of drawings can be found in Blau and Kaufman For a most edifying discussion of architectural drawing as a form of seeing and acting, see Evans Analyses of drawings as pure conceptions of architectural practice can be found in Zukowsky and Saliga and Gebhard and Nevins An earlier and important discussion of architectural drawing as an art can be found in Blomfield There are numerous works dealing with the techniques of architectural drawing; see for example Ching Hulse traces the history of these techniques and their impact on architecture.

For opposing views on the role of the image in primitive society up to today, see Gombrich and Goodman Peter Rice died while this book was being completed. Within the interview, the text has been kept in the present tense. For another discussion of the museum, see the narrative of his drawings by Renzo Piano, above. For examples of the drawing type Rice is speaking about, see the work of Zaha Hadid Becker offers an illuminating discussion of the problems and conflicts involved in the social making of art.

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