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WHY ARCHITECTS STILL DRAW: TWO LECTURES ON ARCHITECTURAL DRAWING. Translation. Paolo Belardi. MIT Press, Cambridge, 2014. First published in Italian as two separate volumes: Brouillons d'Architects: una lezione sul disegno inventivo (Casa Editrice Libria, Melfi, 2004) and Nulla dies sine linea: una lezione sul disegno conoscitivo (Casa Editrice Libria, Melfi, 2012). 132 pp. 18 x 13 cm. LC 2013-18084 ISBN 9780262525480 In English.
Publisher's description: Why would an architect reach for a pencil when drawing software and AutoCAD are a click away? Use a ruler when 3D-scanners and GPS devices are close at hand? In Why Architects Still Draw, Paolo Belardi offers an elegant and ardent defense of drawing by hand as a way of thinking. Belardi is no Luddite; he doesn't urge architects to give up digital devices for watercolors and a measuring tape. Rather, he makes a case for drawing as the interface between the idea and the work itself. A drawing, Belardi argues, holds within it the entire final design. It is the paradox of the acorn: a project emerges from a drawing--even from a sketch, rough and inchoate--just as an oak tree emerges from an acorn. Citing examples not just from architecture but also from literature, chemistry, music, archaeology, and art, Belardi shows how drawing is not a passive recording but a moment of invention pregnant with creative possibilities. Moving from the sketch to the survey, Belardi explores the meaning of measurement in a digital era. A survey of a site should go beyond width, height, and depth; it must include two more dimensions: history and culture.
Indexing: Western, International (Western Style) — Post-2000 — Architecture, Drawing and Watercolor
Plans: 71
Worldwide Number: 159364
Paperbound $15.95x (libraries receive a 10% discount on this title)    

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