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Drawing: The Motive Force of Architecture, by Sir Peter Cook
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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 catholic appetite 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, 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 a new momentum to drawing. 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 Culper, Izaskun Chinchilla, Kenny Tsui, Ali Rahim, John Berglund, and Lorene 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 Mayer drawing is creatively contributing something different from a Rhino drawing, there is much to demand of future techniques.
- Sales Rank: #432997 in Books
- Published on: 2014-01-13
- Original language: English
- Number of items: 1
- Dimensions: 8.70" h x .70" w x 6.74" l, .0 pounds
- Binding: Paperback
- 248 pages
Review
Peter Cook s enthusiasm for imagined realities and unbuilt schemes is irresistible. (bdonline.co.uk, March 2014)
From the Back Cover
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 Lor�ne 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.
About the Author
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 f�r Bildende K�nste (St�delschule) 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.
Most helpful customer reviews
5 of 5 people found the following review helpful.
A few decent pictures in a sea of babble
By R. Mutt
To start with, let me clarify that this is not a book about architectural drawing. It is a book about rendering ideas visually using every type of media you can imagine. So for every example of a drawing there are about ten examples of paintings, models, and an abundance of the typical modern 3D models gone horribly wrong. Add to this Cook's inability to clearly state any point, and you have a pretty bad example of an architectural drawing book.
Here's a quick example of the kind of twisted verbosity you'll have to wade through while reading this book:
"If it is the recurrent thesis of this book that drawing - of every kind - is a motor that absorbs imagination and converts it into usable or transferable information or inspiration, thus self-consciousness is but another form of evaluation."
Ignore the terrible structuring and obvious lack of logical thinking, and you get a statement about how drawing is a way to capture and transfer information. And this was one of Cook's attempts to clarify himself! You can only imagine how badly the rest of the book reads.
I found that Cook's attempt is just an exercise in pretentious slog of the type you'd hear spewing from some theorist's mouth at a black-tie exhibit. There are comparatively few visual examples given for the volume of text, and some examples are profoundly worthwhile (Arthur Beresford Pite, Neil Denari, Hans Poelzig) while the vast majority simply are not.
This is my second attempt at reading an Architectural Design (AD) series book and trying to make sense of it or find anything useful to take away from it. Both attempts have been failures. I have a third one coming, and I'm now starting to really worry about it.
Recommended substitutes:
Visual Notes for Architects and Designers by Norman Crowe and Paul Laseau
Architects' Sketchbooks by Will Jones and Narinder Sagoo
The first book is an excellent primer on the reasoning and methods behind visually rendering ideas and observations. The second book is a compendium of architectural renderings, mostly in crude form, showing the formation of ideas without letting the book's text get in the way. Go forth, learn, and be inspired. And if you want vacuous babble then there's plenty of that online, so there's no need to buy this book.
2 of 2 people found the following review helpful.
Author's Writing Style Poses Challenges
By V. Hutson
I was intrigued with the idea behind this book--"the creative and inventive significance of drawing for architecture." Unfortunately, I found the text extremely difficult to understand without reading every sentence a couple of times! This was truly disappointing. I finally just gave up and glanced through the images which really wasn't that useful since they don't mean as much when it is so difficult to understand the accompanying text.
I do think there is a small select group of people who may enjoy and benefit from this book. I'm just not in that group.
1 of 1 people found the following review helpful.
Good pictures - but text is a doublethink nightmare.
By E. Talerico
Although this book includes some interesting drawings, the text is a convoluted, un-inspiring doublethink nightmare. I found a few of the drawings to be very interesting, but when I looked into the text to see why the author included them, there was nothing of interest. Check it out in a library before adding this one to your own.
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