This previously unpublished work is essential reading for anyone who has followed Marco Frascari's scholarship and teachings over the last three decades. It also provides the perfect introduction for anyone new to his writings. As ever, Frascari does not offer prescriptive tools and frameworks to enact his theories of drawing and imagination; instead, he teaches how to build one's own through individual practice. An illuminating introduction places the text in a wider context, providing the reader with a fascinating and important context and understanding to this posthumous work. Frascari's sketchbooks are reproduced faithfully in full colour to provide the reader with a remarkable insight into the design process of this influential mind.

This book deals with the critical nature and crucial role of architectural drawings. A manual which is essentially not a manual; it is an elucidation of an elegant manner for practising architecture.

Organized around eleven exercises, the book does not emphasize speed, nor incorporate many timesaving tricks typical of drawing books, but rather proposes a slow, meditative process for construing drawings and for drawing constructing thoughts.

This is an indispensable reference text and an effective textbook for students seeking to advance their appreciation of the nature and exercise of architectural drawings.

This edited collection addresses the vital role of the imagination in the critical interpretation of architectural representations. By challenging the contemporary tendency for computer-aided drawings to become mere models for imitation in the construction of buildings, the articles explore the broader range of methods and meanings at stake in the creation and interpretation of architectural drawings, models, images and artefacts.

These critical and often practice-led investigations are placed alongside a range of historical studies considering the development of representational techniques such as perspective, orthography and diagramming. By also addressing the use of visual representation in a number of related disciplines such as visual arts, film, performance and literature, the book opens up debates in architecture to important developments in other fields.

This book is key reading for all students of architecture and architectural theory.

This edited collection addresses the vital role of the imagination in the critical interpretation of architectural representations. By challenging the contemporary tendency for computer-aided drawings to become mere models for imitation in the construction of buildings, the articles explore the broader range of methods and meanings at stake in the creation and interpretation of architectural drawings, models, images and artefacts.

These critical and often practice-led - investigations are placed alongside a range of historical studies considering the development of representational techniques such as perspective, orthography and diagramming. By also addressing the use of visual representation in a number of related disciplines such as visual arts, film, performance and literature, the book opens up debates in architecture to important developments in other fields.

This book is key reading for all students of architecture and architectural theory.

This previously unpublished work is essential reading for anyone who has followed Marco Frascari's scholarship and teachings over the last three decades. It also provides the perfect introduction for anyone new to his writings. As ever, Frascari does not offer prescriptive tools and frameworks to enact his theories of drawing and imagination; instead, he teaches how to build one's own through individual practice. An illuminating introduction places the text in a wider context, providing the reader with a fascinating and important context and understanding to this posthumous work. Frascari's sketchbooks are reproduced faithfully in full colour to provide the reader with a remarkable insight into the design process of this influential mind.

This book deals with the critical nature and crucial role of architectural drawings. A manual which is essentially not a manual; it is an elucidation of an elegant manner for practising architecture. Organized around eleven exercises, the book does not emphasize speed, nor incorporate many timesaving tricks typical of drawing books, but rather proposes a slow, meditative process for construing drawings and for drawing constructing thoughts. This is an indispensable reference text and an effective textbook for students seeking to advance their appreciation of the nature and exercise of architectural drawings.

"An Essay Concerning the Project" considers the practice of architectural design as it has developed during the last two centuries. In this challenging interpretation of design education and its effect on design process and products, Argentinean scholar Alfonso Corona-Martinez emphasizes the distinction between an architectural project, created in the architect's mind and materialized as a set of drawings on paper, and the realized three-dimensional building.
Corona-Martinez demonstrates how representation plays a substantial role in determining both the notion and the character of architecture, and he traces this relationship from the Renaissance into the Modern era, giving detailed considerations of Functionalism and Typology. His argument clarifies the continuity in the practice of design method through the nineteenth and twentieth centuries, a continuity that has been obscured by the emphasis on changing goals instead of design procedures, and examines the influences of modernity and the legend of the Bauhaus.
Architectural schooling, he suggests, has had a decisive role in the transmission of these practices. He concludes that the methods formalized in Beaux Arts teaching are not only still with us but are in good part responsible for the stylistic instability that haunts Modern architecture.
Abstract but not abstruse, "An Essay Concerning the Project" provides clear information for a deeper understanding of the process of design and its results. More so than any other recent text, it shows the scope and richness of the field of speculation in architecture. It presents subtle considerations that must be mastered if an architect is to properly use typology, the means of representation, and the elements of composition and in architecture. Students, teachers, and practitioners alike will benefit from its warning about the deeper aspects of the endeavor of architecture.