Drawing: The Motive Force of Architecture (Architectural Design Primer) - Tapa blanda

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Peter Cook is the founder of Archigram, the former Director of the Institute for Contemporary Art (ICA), London and previous Professor of Architecture at the Bartlett School of Architecture at University College London. A pivotal figure within the global architectural world for over half a century, in 2007 he was knighted by The Queen for his services to architecture. A Royal Academician, he is a Commandeur de l’ordre des Arts et Lettres of the French Republic. He is currently a Senior Fellow of the Royal College of Art, London. Professorships include those at the Royal Academy, University College London and the Hochschule für Bildende Künste (Städelschule) in Frankfurt am Main, Germany. In 2010, he received an Honorary Doctorate of Technology from Lund University in Sweden. Cook is, with Colin Fournier, the architect of the Kunsthaus Graz. He is a director of CRAB Studio in London with Gavin Robotham, which is currently building the new Law Faculties and Central Administration Buildings for Vienna University and the Soheil Abedian School of Architecture for Bond University in Australia.

De la contraportada

Focusing on the creative and inventive significance of drawing for architecture, this book by one of its greatest proponents, Peter Cook, is an established classic. It exudes Cook’s delight and his wide ranging, catholic tastes for the architectural. Readers are provided with perceptive insights at every turn. The book features some of the greatest and most intriguing drawings by architects, ranging from Frank Lloyd Wright, William Heath Robinson, Le Corbusier and Otto Wagner to Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Arata Isozaki, Eric Owen Moss, Bernard Tschumi and Lebbeus Woods; as well as key works by Cook and other members of the original Archigram group.

For this new edition, Cook provides a substantial new chapter that charts the speed at which the trajectory of drawing is moving. It reflects the increasing sophistication of available software and also the ways in which ‘hand drawing’ and the ‘digital’ are being eclipsed by new hybrids – injecting drawing with a fresh momentum. These ‘crossovers’ provide a whole new territory as attempts are made to release drawing from the boundaries of a solitary moment, a single viewing position or a single referential language. Featuring the likes of Toyo Ito, Perry Kulper, Izaskun Chinchilla, Kenny Kinugasa-Tsui, Ali Rahim, John Berglund and Lorène Faure, it leads to fascinating insights into the effect that medium has upon intention and definition of an idea or a place. Is a pencil drawing more attuned to a certain architecture than an ink drawing, or is a particular colour evocative of a certain atmosphere? In a world where a Maya® drawing is creatively contributing something different from a Rhinoceros® drawing, there is much to demand of future techniques.