Sketches are an irreplaceable method of recording thoughts and of correcting the design process. They are a means of discovering and examining reality which supports the development of imagination. Sketching is an essential element in the education of architects and in the double-loop learning process. Sketching opens two channels of communication: conversation and spatial-visual activity. Both traditional and new digital tools have important roles in the development of future architects. The primacy of computer design over freehand drawing in an architect’s work can lead to the disappearance of a designer’s individuality and creativity, limiting the role of his personality at the earliest stage of the design process.
Sketches are an irreplaceable method of recording thoughts and of correcting the design process. They are a means of discovering and examining reality which supports the development of imagination. Sketching is an essential element in the education of architects and in the double-loop learning process. Sketching opens two channels of communication: conversation and spatial-visual activity. Both traditional and new digital tools have important roles in the development of future architects. The primacy of computer design over freehand drawing in an architect’s work can lead to the disappearance of a designer’s individuality and creativity, limiting the role of his personality at the earliest stage of the design process.
The foreseeable effects of the impact of artificial light, based on the principles of optics, only ostensibly appear to facilitate the works of designers. The rather scarce positive realisations show that an optimal outcome is attained thanks to time consuming work conducted by specialists representing assorted branches, and based on an interdisciplinary reconnaissance of the given object. The composite nature of the problem is emphasised while analysing differences in the ways of illuminating contemporary and historical architecture, and comparing the tasks which may be fulfilled by artificial light, from the creation of new space, via the night time promotion of a given object, to purely practical information functions. Contemporary architecture began to intentionally use artificial light at the beginning of the twentieth century. Frequently the given object was analysed in detail within the context of its exposition during various parts of the day, in contrast to historical realisations, whose illumination was not foreseen. The ... application of the illumination of historical objects must not be resolved in a manner detrimental for the appearance of the monument by resorting to uncritically emulated methods used in contemporary arrangements.
The experience of playing during the process of drawing alters our mode of thinking. Then the resulting interaction between the drawing and the author is helpful in developing his working methods and creativity, discovering new truths, stimulating the production of more design alternatives. It can be a kind of individual game or others can participate in it, influencing the presentation and its truth.
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