Architectural drawing as a sign of the times. An architect’s workshop in the 19th and 20th centuries - retrospection

Anna Wojtas-Harań

doi:10.37190/arc240211

Abstract

The topic of the research is drawing used in architect’s work. The author’s aim was to draw attention to how important it is to be able to adopt the appropriate canon of architectural drawing to obtain a favourable message and to demonstrate that there should be freedom in the selection of graphics. The author concentrated on the presentation and analysis of architectural designs using various drawing conventions. The designs come from the 19th and 20th centuries – a period when the canons of the content and appearance of architectural studies were already in force. It was also a time when architectural drawing was a common practice, done traditionally by means of hand-drawn lines on paper. The review concerns projects implemented in Europe. The analysis of architectural studies shows that architectural drawing, in the professional practice of an architect, is an integral part, including creative invention. The drawing convention adopted by the architect often results from the subject of the project, the context of the location, the style of the era, and the personality of the author. The above dependence leads to the conclusion that the right to choose the drawing technique should remain with the artist, while maintaining the principles of technical knowledge and developed standards of drawing readability.

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2(78)

Anna Wojtas-Harań*

Architectural drawing as a sign of the times.

An architect’s workshop in the 19

and 20

centuries – retrospection

Introduction

The changing requirements as regards the preparation

of architectural designs and the profession of an architect,

particularly in Poland, but also in other European coun-

tries, force us to draw attention to the increasing trends

which close a certain stage that was shaped in the past.

Architectural drawing and its role in modern design con-

stitute one of the topics of our discussion.

Architectural drawing is an integral part of an archi-

tect’s professional activity. Originally, the drawing con-

vention adopted by the architect resulted from the topic

of the project, the context of the location, the style of the

era as well as the author’s mentality. The analysis of the

architect’s workshop, including highlighting the values of

old drawing techniques, gives rise to reection and maybe

even implicit criticism of modern practices.

DOI: 10.37190/arc240211

Published in open access. CC BY NC ND license

The article presents and analyses architectural projects

which use various drawing conventions. These designs

come from the 19

and 20

centuries – the period when

the canons of contents and appearance of architectur-

al studies were already in force. It was also a time when

architectural drawings, which were made traditionally by

means of handmade lines on paper, were a common prac-

tice. Our review covers seven projects which were imple-

mented in Europe.

The author’s goal was to draw attention to the impor-

tance of adopting an appropriate canon of architectural

drawing in order to obtain a favourable message and to

demonstrate that there should be freedom in the selection

of graphics in this respect.

Description of the research

The method of analysis, a case study and a query of

archival documents, ocial documentation, legal acts as

well as source literature were adopted. The architectural

form, drawing technique, and artistic trends were analysed.

* ORCID: 0000-0002-8434-7348. Faculty of Architecture, Wrocław

University of Science and Technology, Poland, e-mail: anna.wojtas-

haran@pwr.edu.pl

Abstract

The topic of the research is drawing used in architect’s work. The author’s aim was to draw attention to how important it is to be able to adopt the

appropriate canon of architectural drawing to obtain a favourable message and to demonstrate that there should be freedom in the selection of graphics.

The author concentrated on the presentation and analysis of architectural designs using various drawing conventions. The designs come from the 19

and

centuries – a period when the canons of the content and appearance of architectural studies were already in force. It was also a time when architec-

tural drawing was a common practice, done traditionally by means of hand-drawn lines on paper. The review concerns projects implemented in Europe.

The analysis of architectural studies shows that architectural drawing, in the professional practice of an architect, is an integral part, including

creative invention. The drawing convention adopted by the architect often results from the subject of the project, the context of the location, the style

of the era, and the personality of the author.

The above dependence leads to the conclusion that the right to choose the drawing technique should remain with the artist, while maintaining the

principles of technical knowledge and developed standards of drawing readability.

Key words: building design, architectural workshop, architectural drawing

112 Anna Wojtas-Harań

Architectural projects, which presented a set of character-

istic features for the times in which they were carried out,

were selected for the research. The obtained data allowed

us to draw certain conclusions.

The state of research

Drawing has accompanied the architects’ work for cen-

turies. Thus, it became the subject of research by outstand-

ing creators of architecture and art. In ancient times, the

most remarkable success was achieved by Vitruvian trea-

tise De architectura libri decem which explained the laws

governing architecture. In chapter two, Vitruvius specied

components of architecture, mentioning dispositio among

them (skilful arrangement of building elements). The au-

thor of the work explained that there were the following

types of disposito, i.e., ichnography (drawing of the base

of a planned building, made in the scale with the help

of a compass and line, from which dimensions are later

transferred to the area of the construction site), orthog-

raphy (vertical image of the façade made in the scale

corresponding to a future building), scenography (this is

a sketch of the façade and side walls whose all lines con-

verge at the central point) [1, p. 15]. Everything is the re-

sult of thoughts and ingenuity [1, p. 15].

The Renaissance architect Filippo Brunelleschi con-

tributed to the constitution of the principles of a linear

perspective. Leon Battista Alberti, who also became fa-

mous as an architect, edited the Renaissance compendium

of knowledge entitled De pictura which was dedicated,

among other things, to drawing [2], [3]. There, we can nd

tips on the methods of reecting products of the mind with

a line. Another artist of the Renaissance, i.e., Piero del-

la Francesca developed his interest in the perspective and

searched for the rules determining the concept of beauty.

In theoretical tractates, he presented […] mathematical

analyses of perspective and proportion – two issues which

fascinated the humanistic world of the Renaissance era [4,

p. 59]. Genius Leonardo da Vinci explored art and archi-

tecture by developing predecessors’ systems for presenting

objects on the plane and perfected his visual awareness.

It is worth mentioning that Leonardo aired his views on

scientic, philosophical, and technical issues simultane-

ously in writing and in drawings. Discursive thought and

artistic statement permeated and complemented each other

[5, p. vi]. His sculptural and architectural works are known

through drawing and notes. Leonardo da Vinci’s Treatise

on painting [5], which presents numerous observations of

the drawing master, is a compilation which was made of

Leonardo’s manuscripts by Maria Rzepińska.

The subject of architectural drawing has been taken up

by architects, historians, and artists also today. A compre-

hensive analytical material, which was devoted to the re-

cord of architectural space, i.e., the records of architect’s

thoughts, images noticed by the architect, theory of archi-

tecture, as well as perspective drawings, drawings being

autonomous works of art, photographic images, visualiza-

tions, and construction documentation, was collected in

the study entitled Dening architectural space. The record

of architectural space and edited by Maria Misiągiewicz

and Dariusz Kozłowski. The editors even put forward the

thesis that […] the record of architectural space might be

– architecture [6, p. 4].

Many authors discuss the issues of architectural draw-

ing on the occasion of exploring other research problems.

Władysław Czarnecki, in his multi-volume work entitled

Planning cities and estates, wrote about the importance of

sketches for landscape studies and argued that The draw-

ing should be characterized by accuracy, i.e., precise re-

production of the shape, expressiveness of the image and

should emphasise characteristic features with the greatest

possible simplication of details [7, p. 223].

Amélie Luquain presented the diagnosis of modern

times in the article entitled Freehand drawing: useless

skill? by asking a question whether freehand drawing is an

essential skill of the architect in the face of the onslaught

of digital technology [8].

The issue of modern forms of architectural recording is

discussed in magazines and on Internet portals on a reg-

ular basis, which often results in a stir. The author of the

article entitled Słynne studio architektoniczne przyznaje:

u nas projektuje sztuczna inteligencja [The famous archi-

tectural studio admits: here, articial intelligence designs]

[9] wonders whether articial intelligence can become an

architect of the future because currently – as he reports

– articial intelligence (AI) is used to generate eective

realistic images of architecture (e.g., DALL – E2, Stable

Diusion, Midjourney) by Zaha Hadid Architects Studio.

Architect’s workshop

– from a handwritten line to a digital code

For architects, drawings constitute an opportunity to

show eects of their work. For centuries, the ability to use

architectural drawing has been a practice necessary in pur-

suing the art of construction, architectural art or aspiring to

the title of an architect.

In France, for example, according to “L’exposition

Dessiner pour bâtir: le métier d’architecte au XVII

siè-

cle”, the origins of teaching architectural drawing and at-

tempts at unifying codes of architectural concepts presen-

tations date back to the 17

century [8]. Freehand drawing

was a useful skill from the beginning to the end of the

construction process. Designs were drawn with various

tools. Apart from a pencil, crayon, feather, charcoal, brush

and paint, also ruling pens, technical pens, markers, and

felt-tip pens were used later. At present, digital mapping

techniques or copying technologies are applied. By par-

ticipating in this evolution of visual techniques, architects

modernized their work. Innovative tools allowed them to

adapt to the growing requirements of customers, oce

procedures or competition with other companies. Archi-

tects who value their profession have always sought the

reliability of drawing analyses and the artistic eect of

their projects, regardless of the stage of activity. An eec-

tive drawing was usually used, depending on the needs,

i.e., making the rst sketches of the location, landscape,

and then ideograms, shapes of the architectural vision, as

well as drawing precise plans which were in accordance

with the provisions regulated by standards and specif-

Architectural drawing as a sign of the times. An architect’s workshop in the 19

and 20

centuries – retrospection 113

ic details at the implementation stage. The selection of

graphics was aimed at collision-free communication with

the investor.

Drawing was also a tool of analysis. Czarnecki empha-

sized […] the importance and ability to make sketches for

landscape studies because photography often does not re-

ect that which is the most important for drawing conclu-

sions [7, p. 223]

The graphic design was also a showcase for the archi-

tect. The aesthetics of works was at such a high level that

they became works of art in themselves. When an archi-

tectural work was implemented and aroused the favour

of general public, it was also reproduced in photographs,

paintings, and drawings.

Nowadays in Poland, the whole architect’s work is dom-

inated by a commercial dimension of the activity. It con-

cerns the increasing responsibility of the designer, “both

formal and technical, as well as legal and econo mic”. One

of the manifestations of this tendency is the requirement

to obtain the approval of public administration bodies, in-

cluding the architectural and construction authority in the

construction process. Construction projects are supposed

to meet the criteria that will be the basis for their approval

and the start of construction works. Projects become part

of the administrative decision. When preparing construc-

tion documentation, designers are particularly connected

with drawing standards which ensure unambiguity of the

message. Archival materials show that to some extent it

was also a routine in previous centuries. However, design

documentation arrangements resulting from applicable

regulations are successively more and more and the vol-

ume of projects is increasing due to the text part.

During modernization of the Polish Construction Law

in the 1990s, discussions about the need to create an ideal

pattern of documentation were often initiated. This hap-

pened when the provisions regulating the scope and form

of the architectural and construction design were already

in force. According to the opinion of ocials and design-

ers seeking to rationalize and improve communication

skills, the regulations were insucient.

On the basis of Polish law, the following course of

action aimed at the erection of a building was nally ad-

opted (without taking into account the cases settled in the

construction supervision procedure). First, an architectur-

al concept is presented in an attractive manner in order to

win the favour of an investor. A certain freedom in adhering

to drawing standards at this stage was accepted. The next

stage of the project is the construction design. Often, the

illustrative layer then loses its artistic value. Construction

documentation, which is made according to bureaucratic

principles, is assessed primarily in terms of the complete-

ness and compliance of the plot development project and

the architectural and building design with the local law

acts. Only the plot development plan is veried in terms

of compliance with technical and construction regulations

The camera catches everything that is in front of the lens and there-

fore in the photo, often among less important details, signicantly import-

ant characteristics of the landscape are lost and disappear [7, p. 223].

[10]. Hastiness and the desire to minimize ocial contacts

(adapting to the institutional scheme) do not encourage

drawing elegance. Only enthusiasts are able to apply the so-

phisticated drawing techniques. Designs which are created

in the computer technology are rarely characterized by indi-

vidual graphics. Digital block libraries – pre-drawn objects

for CAD or BIM software impose the appearance of archi-

tectural drawings. Also at the stage of executive projects,

detailed computer printouts are sent to the construction site.

The present attempt at unifying the architectural mes-

sage and admission of electronic developments in oces,

apart from losing originality, may additionally contribute

to the elimination of architects who do not have electronic

equipment and expensive software at their disposal from

the profession in the future. The skills in the scope of

Building Information Modelling (BIM) already constitute

now a condition necessary in order to participate in some

project competitions.

Examples of projects

from the freehand drawing era

It is assumed that architectural drawing is the presenta-

tion of a building in connection with the surroundings in

a way that makes it possible to understand its characteristic

features. Architectural drawing is the application of geo-

metric principles, aesthetic reasons, and practical require-

ments. The whole is framed with conventions. The synthesis

and graphic translation of all these imperatives is modu-

lated depending on the method of drawing, from a hand-

written sketch to the most sophisticated computer systems

[11]. Hence, through the lines which give shapes, and ad-

ditionally with the participation of words and numbers as

minimal as possible, an architectural idea is conveyed.

Aesthetic reasons when carrying out architectural

projects require precision, scale, and clear symbolism

of markings. A certain help in decrypting the architect’s

guiding thought can be colours (a monochrome colour pal-

ette, black and white, wide range of colours), thickness of

a line, a type of font through which delicate or blunt char-

acter of the message is obtained.

Practised standards impose necessary components of

architectural drawings such as plans, façades, cross-sec-

tions, perspectives, axonometries, and details. For exam-

ple, there is an indisputable rule that each element which

is cut by a cutting plane is represented by a thick line and

the background, the view – by an appropriately thinner

one. Façades and views of interiors detail the designer’s

imagination.

The elements of architectural drawing, which were pre -

sented in the general outline, were applied in selected

examples giving an image of the architectural workshop

in the 19

and 20

centuries. These are projects in the

concept phase (which is also the basis for approving the

construction plan and the subject of administrative pro-

ceedings) as well as inventory drawings. The individual

application of rules, which were developed during sever-

al centuries, has translated into a dierent eect of design

studies. The adopted drawing convention has been a spe-

cial eect.

114 Anna Wojtas-Harań

Villa Marguerite in Houlgate

– realization of picturesqueness

Villa Marguerite in Houlgate is situated on the French

coast and was constructed during the development of sea-

side stations in the spirit of picturesqueness and eclecti-

cism. At that time, architects drew inspiration from his-

torical models, oriental exoticism, regionalism, and in

particular from the expression of Swiss huts as well as

French and English Gothic buildings. The development of

architecture in seaside bathing places is convergent with

the invention of “regional eclecticism”. Recreational ar-

chitecture has been looking for its roots in picturesque-

ness and ordinariness since the beginning of its existence.

Dominant places overlooking the sea were privileged, i.e.

at the top of clis or rock cornices which made it possible

to enjoy the landscape and view. According to the English

inuence in the 1860s, villas multiply asymmetry and de-

composition in the plan and façade. Great compositional

freedom translates into the expression of appearance, es-

pecially in the case of residential architecture.

Villa Marguerite is one of the many villas standing in

the rst row anking the seaside promenade in Houlgate

in the region of Normandy. It was designed by the archi-

tect Émile Auburtin in 1876, during a period of fashion for

leisure which took advantage of the benets of water [12].

The resort is famous for its coastal architecture typical of

the Belle Époque.

Maurice Daumont made a drawing of the villa in colour

lithography. The architect proposed a static composition,

a calm palette of colours, giving the impression of re-

strained moodiness. The motifs of brick and ceramic dec-

orations stand out distinctly against the grey background

of the squat roof. In the plan of the villa we can perceive

Fig. 1. Villa Marguerite in Houlgate:

a) northern / entrance façade, longitudinal cross-section,

b) eastern façade, ground floor and the first floor plans

(designed by É. Auburtin, drawn by M. Daumont) (source: courtesy of Bibliothèque nationale de France)

Il. 1. Villa Marguerite w Houlgate:

a) elewacja od strony wejścia do budynku, przekrój podłużny, b) elewacja od strony klatki schodowej oraz rzuty kondygnacji (parter i piętro)

(projekt: É. Auburtin, rys. M. Daumont) (źródło: dzięki uprzejmości Bibliothèque nationale de France)

a b

Architectural drawing as a sign of the times. An architect’s workshop in the 19

and 20

centuries – retrospection 115

private zones (bedrooms – upper oors), representative

and utility zones (living room, dining room, oce on the

elevated ground oor). A subtle drawing of greenery and

misty coastal landscape constitute a perfect staging of the

place and time as well as they complement the idea of the

architectural concept (Fig. 1).

The drawing technique is standard – even exemplary

for those times – with a soft emotional and reective tone.

It reects the characteristics of the era of artists guided by

reason as well as artistic power in their works [13, p. 9].

A delicate typeface of the font describing the project imi-

tates calligraphic writing and provides a secondary decora-

tive “texture layer”.

Prince Henry’s shelter – stylized austerity

Prince Henry’s shelter, which was founded in 1889, ma-

jestically crowned the endless space around Kocioł Wiel-

kiego Stawu (the Big Pond Pothole) in the Giant Moun-

tains. The extension and remodelling which took place in

the 1930s signicantly increased its area. The project of

modernization was completed by the Architectural Oce

of Albert Brothers from Jelenia Góra in 1912 (Karl and Ot-

ton Albert became famous for numerous implementations

in the Giant Mountains region and also for the concepts

of other shelters, i.e., Strzecha Akademicka [Ger. Hampel-

baude], Szrenica Shelter).

The graphic appearance of the reconstruction project

skilfully reects characteristic features of the architecture

of the building and the mountain surroundings – asceticism

which interacts with the harshness of nature. The drawing

shows a compact body with a gable roof, which is diver-

sied with avant-corps and verandas and integrated into

a rocky slope without vegetation, respectively to the sharp

climatic conditions prevailing there (Fig. 2). The storeys

with their nely divided planking, stand out against the

mosaic of stone blocks of the ground oor and the base-

ment. The façade is organized by a regular arrangement

of windows which vary depending on their location and

function. In the drawing boards, the materially dissimilar

planes of the façades were reconstructed in the shades of

one colour, i.e., grey. The contours of individual building

elements and chiaroscuro were precisely drawn with a thin

black line. The application of this monochromatic drawing

technique enriched the artfulness, spatiality, contrast of the

image and partly brought the context of the location closer.

Expressive lettering, which was used for the description

of the project, brings to mind the ornamentation that was

popular during the period of erecting the building, i.e., Art

Nouveau. It corresponds with the asymmetry of the com-

position, abandonment of historicism, and does not inter-

fere with a popular at that time idea of protecting native

culture, i.e., a regional tradition.

Palace in Burgwindheim – finesse of drawings

Before World War II, the Faculty of Architecture of the

University of Technology in Stuttgart held a high position

among German educational institutions. At the University,

an important part of studies was the course which was de-

veloped by Swiss architect Professor Ernst Fiechter. The

aim of the classes was to learn awless and beautiful con-

struction drawings. A student made sketches of details and

existing buildings on site. Personal observation of all indi-

vidual elements of the work introduced a student to direct

contact with knowledge of material science, crafts, and art.

Students dealt with details of valuable buildings only,

e.g., buildings with careful stone and carpentry work, i.e.,

Fig. 2. Prince Henry’s shelter – project of remodelling from 1912:

a) ground floor plan, b) western and eastern façades

(designed by Gebrüder Albert Architekten, source: from the collection of the State Archive, Department in Jelenia Góra, ref. 200)

Il. 2. Schronisko Księcia Henryka – projekt przebudowy z 1912 r.:

a) rzut parteru, b) elewacja zachodnia i wschodnia (proj. Gebrüder Albert Architekten)

(źródło: ze zbiorów Archiwum Państwowego Oddział w Jeleniej Górze, sygn. 200)

116 Anna Wojtas-Harań

House in the Alps – rustic motifs

At the end of the 1930s, Gustav Reutter’s houses could

be found everywhere in the upper south-western Bavaria.

They t neatly into the varied landscape of the immediate

vicinity as well as into the background of the wider sur-

roundings, i.e., the mighty Alps, giving the impression of

belonging to the landscape. They were also part of the re-

gional identity popular in the 1

half of the 20

century,

despite the already prevailing fashion for modernism. The

splendour of vernacular architecture, traditional forms, and

local materials arose from the Genius Loci.

Particular attention was paid to a group of mountain

houses with a medium-sloping roof with a wide eaves

and a consistent division of the façade. Reutter created the

form of a building from the context of the place and the

functional requirements of residents, where outdoor life

plays an important role. Drawings reecting visions of the

architect seem adequate to the rural atmosphere. They are

characterized by a minimum of information, ascetic graph-

ics, a hand-drawn technique of drawings and description,

good examples from the artistic and technical aspect. They

made measurements and sketches to reproduce façades,

oor plans, and cross-sections in the drawing workshop.

It was important that this recording and sketching would

take place with adequate diligence and that students

would get used to observing the structure to be examined

and to presenting it by means of sketches in such a way

that they would not only meet the immediate purpose,

which is the basis for the further analysis, but also as an

aesthetic drawing. In this way, a student was trained for

clean and careful work, even at the initial stage, which is

often treated marginally [14, p. 289]. The work was car-

ried out under constant supervision. Drawings were made

with a pencil on hard paper and then drawn with ink. The

emphasis was put on an unambiguous and realistic presen-

tation, good composition, and beautiful as well as legible

lettering. Groups of two or three people were organized to

work on a larger building. Drawings of details and small-

er buildings were made individually. The eect of study

works is presented in the illustration depicting the baroque

palace in Burgwindheim, Germany from 1729 (Fig. 3).

Fig. 3. Palace in Burgwindheim

– northern façade and ground

floor plan

(drawn by E. Flatt and

L. Schmeisser)

(source: [14, p. 289])

Il. 3. Pałac w Burgwindheim

– elewacja północna,

rzut parteru

(rys. E. Flatt i L. Schmeisser

(źródło: [14, s. 289])

Architectural drawing as a sign of the times. An architect’s workshop in the 19

and 20

centuries – retrospection 117

the emphasized cross-section in combination with a faint

line of secondary markings, light-hearted/semi-humorous

application of rustic motifs (stone drawing and descrip-

tion) (Fig. 4).

Chalet Lang

Architect Denys Pradelle, when designing the house

for Georges Lang in Courchevel (Fig. 5), chose a struc-

ture hovering above the ground. Despite the unfavourable

terrain (steep slopes with north-eastern orientation), he

obtained delightful views of the mountains and access to

southern sunlight. He decided on a mixed construction pro-

cess which connected a reinforced concrete structure with

a prefabricated vertical extension (a wooden frame sup-

ported by a metal frame which was attached to a reinforced

concrete panel). The residential part with a at roof was

supported by the two pilars supporting the suspended part

of the building and by the stone block of the ground oor

which housed a garage and technical rooms. The building

from 1950 reects the modernist search for the simplici-

ty of form, functionality, and integration with nature. The

designer’s ambition was to build in oneness with a place

where the mountains would dominate, but would also serve

as an inspiration to develop a dierent style of building.

A new type of architecture in newly developed ski sta-

tions was presented in modern graphics. It is free and even

sketchy graphics which is supplemented with ideograms,

stylized symbolic drawing of greenery, and topography.

The handwritten font often complements the ludic man-

ner of presenting the architectural concept which should

evoke exclusively positive and carefree feelings which are

here associated with leisure and pleasure.

School in Göfis

– Avant-garde of the 2

half of the 20

century

At present, the buildings from the 1950s and 1960s are

forgotten. It was a time of dissemination and commercial-

ization of modernism which lost much of its ideological

Fig. 4. Residential house

in Obergreinau

– view, longitudinal cross-section,

ground floor and

first floor plans,

(designed by G. Reutter,

drawn by an unknown author)

(source: [14, p. 499])

Il. 4. Dom mieszkalny

w Obergreinau

– widok, przekrój podłużny,

rzut parteru i piętra

(proj. G. Reutter,

autor rys. nieznany)

(źródło: [14, s. 499])

118 Anna Wojtas-Harań

power [16, p. 10]. However, post-war architecture has

been making a comeback in a new light for several years.

For example, the presentation of book Adelheid Gnaiger.

1916–1991: die erste architektin Vorarlbergs [17], which

describes the creative activity of the rst woman architect

of Vorarlberg in Austria, was an excuse to look at this ar-

chitecture with appreciation and interest. What delights in

her designs is the extremely natural way of presenting the

architectural idea. It is characterized by an informal line

dosed with imagination and restraint, lapidary shapes car-

rying a disproportionate load of information, deliberate

carelessness and understatement – under-drawing. What

is striking is the individuality of the message realized by,

among other things, the use of self-developed handwrit-

ing – a showcase or exaggerated angular architectural font,

avoidance of template shapes, and a deliberate impression

of imprecision. It is worth mentioning that at that time and

later, a mannerism of deliberate extension of lines, which

gave the eect of a less fabricated product and was nice to

look at, was adopted (Fig. 6).

Glass skyscraper

– time of perspectives

In the 1990s, the idea of modernism was continued,

however, it was treated in a more simplied way. It was

permeated by postmodernism which resulted from bore-

dom with modernist aesthetics. Even if a designer was still

trying to oscillate in the spirit of modernist values, the way

of presenting a project often went beyond program mini-

malism. A design of the late modernist glass skyscraper in

Wrocław (Fig. 7) uses drawings of greenery, light reec-

tions, shop windows, and decorations – closer to popular

imagery, which distracts attention from possible deeper

meanings of the architectural idea. The “smooth skin” of

the façade constitutes the scenery for situations which are

desired by the investor and client. We can see as if the lm

frame which is captured on the perspective and cross-sec-

tion of the building. Dynamic perspectives which bring the

world of technological fantasy closer became an inherent

element of each project.

Computer graphics

in architectural design

The turn of the 21

century brought the development

of technology in computer graphics (Figs. 8, 9). Comput-

er programs made it possible to create abstract images or

photorealistic visualizations in various colour and stylistic

variants. As before, buildings were designed by architects,

but they used a perfect individual graphic design of proj-

ects and used template solutions which were automatically

suggested by the program. Innovative practice, however,

requires adaptation to increasingly newer software ver-

sions and hardware needs which generate above-average

costs. It can be predicted that in the future, which is likely

to happen still in the 3

decade of the 21

century, it will be

articial intelligence that will step into the competence re-

Fig. 5. Chalet Lang in

Courchevel: perspective,

first floor plan,

longitudinal cross-section

(designed by D. Pradelle,

author of the illustration

E. Dessert,

drawn by A. Wojtas-Harań

on the basis of: [15, p. 162])

Il. 5. Chalet Lang w Courchevel:

perspektywa, rzut piętra,

przekrój podłużny

(proj. D. Pradelle, rys. E. Dessert,

przerys A. Wojtas-Harań

na podstawie: [15, s. 162])

Architectural drawing as a sign of the times. An architect’s workshop in the 19

and 20

centuries – retrospection 119

served for the artist and change the existing rules (cf. [18]).

A detailed analysis of this period and these issues is pos-

sible in a separate study due to a large scope of the topic.

Conclusions and summary

With the passage of time, there have been changes in

the canons of architectural drawing which became an ar-

tistic reection of the visual culture and dominant ideas.

The choice of graphics by the architect was connected not

only with the style of the era, but also with the subject of

the project, the context of the location, and probably the

author’s creative identity. The analyses prove the validity

of the above thesis, which is in accordance with the axiom

about the integrity of the architectural drawing with the

creative process.

In the examples of architectural designs presented

above, extraordinariness in the drawing message is visible,

however, it is marked by the spirit of the times.

A subtle design of Marguerite Villa in Houlgate realizes

the features of the picturesque Belle Époque period as well

as a residential function which is associated with cheerful

sensations and its location in a charming holiday resort on

the French coast. The design of Prince Henry’s shelter in an

austere style species more ascetic character of the build-

ing in an inaccessible Giant Mountains zone. The creation

of the project dates to a period when many aspirations in

the artistic sphere converged. There were also tendencies

of drawing from traditional local models while reducing

decorations. The drawings of Burgwindheim Palace con-

stitute a model of sophisticated work which is focused on

reliable reconstruction of the existing buildings from the

Bavaria region. The inventory phase probably meant that

it was abandoned to show the background of the imme-

diate environment, adopting a formalistic academic nar-

rative. The inventory phase probably resulted in the fact

that it was abandoned to show the background of the im-

mediate surroundings and a formalistic academic narrative

Fig. 6. School in Göfis:

a) ground floor plan,

b) south-west façade,

c) north-west façade

(designed by A. Gnaiger,

drawn by A. Wojtas-Harań

on the basis of: [17])

Il. 6. Szkoła w Göfis:

a) rzut parteru,

b) elewacja południowo-wschodnia,

c) elewacja północno-wschodnia

(proj. A. Gnaiger,

rys. A. Wojtas-Harań

na podstawie: [17])

120 Anna Wojtas-Harań

was adopted. At the turn of the 20

century, in the eld of

architecture it was postulated to protect cultural traditions

and preserve historic buildings (apart from nature protec-

tion and cultural traditions). At the Faculty of Architecture

of the then Technische Hochschule Stuttgart, this method

of designing, which was called Stuttgart school [Stuttgar-

ter Schule], was taught. A traditionalist movement in ar-

chitecture became an element of a variety of aspirations of

the turn of centuries. The rustic character of the Bavarian

Alps house designs was part of the trend of the early 20

century, when the timeless quality in architecture was dis-

covered again – ländlichkeit (rurality, idyllicity) and was

also associated with functionality, neatness, honesty, and

identity. The modernist form of the Courchevel mountain

house is fused with casual graphics, which perfectly re-

ects the avant-garde style and phenomenal nature of the

French Alps. A similar alternative architectural language

was used by a female architect from Volarlberg – a coun-

try at the foothills and within borders of the Austrian Alps,

who created the scenery of a carefree place and undened

Fig. 7. Hotel in Powstańców Śląskich Street in Wrocław:

a) ground floor plan, b) longitudinal cross-section, c) perspective (designed and drawn by A. Wojtas-Harań)

Il. 7. Hotel przy ul. Powstańców Śląskich we Wrocławiu:

a) rzut parteru, b) przekrój podłużny, c) perspektywa (proj. i rys. A. Wojtas-Harań)

Architectural drawing as a sign of the times. An architect’s workshop in the 19

and 20

centuries – retrospection 121

life. The student’s design of a hotel in Wrocław from the

half of the 20

century presents a trend of expressive

graphics – the years when sensitivity to the shape and pro-

portions was no longer sucient and when buildings also

became a compilation of the modern and traditional lan-

guage of forms.

The concise architectural studies presented here, which

were created within the limits of rational freedom in the

way of transmission of architectural thought, are not in-

ferior to printed designs unied by standards, automated

with libraries of signs, obliged by form and volume, often

blurring the understanding of the content.

Fig. 8. Adaptive re-use of the attic of a single-family house in Wrocław,

which was carried out with the use of a computer program and implemented at the beginning of the 21

century:

a) attic plan, b) longitudinal cross-section, c) eastern façade (designed and drawn by A. Wojtas-Harań)

Il. 8. Projekt zmiany sposobu użytkowania poddasza domu jednorodzinnego we Wrocławiu

wykonany z zastosowaniem programu komputerowego, zrealizowany na początku XXI w.:

a) rzut poddasza, b) przekrój podłużny, c) elewacja wschodnia (proj. i rys. A. Wojtas-Harań)

Fig. 9. Computer visualizations of Nordpark Cable Railway in Innsbruck which were implemented at the beginning of the 21

century

(designed by Zaha Hadid Architects)

(source: courtesy of Zaha Hadid Architects)

Il. 9. Wizualizacje komputerowe Nordpark Cable Railway w Insbrucku zrealizowane na początku XXI w.

(proj. Zaha Hadid Architects)

(źródło: dzięki uprzejmości Zaha Hadid Architects)

Artistry, craftsmanship, and drawing have always ac-

companied the architect. Despite the widespread digiti-

zation, drawing does exist and is still developing. Young

artists create works using freehand drawing. However, this

type of drawing is being removed from architectural prac-

tice. Drawing presentations require skills. Nowadays, the

creation of computer visualizations, animations, virtual

and very real graphics also requires no less skill. It would

be reasonable not to deny any of the techniques, in partic-

ular the ones that have proved to be successful in the past.

Translated by

Bogusław Setkowicz

b c

122 Anna Wojtas-Harań

Streszczenie

Rysunek architektoniczny znakiem czasu. Warsztat architekta w XIX i XX w. – retrospekcja

Tematem artykułu jest rysunek stosowany w pracy architekta. Celem autorki było zwrócenie uwagi na to, jak istotna jest umiejętność przyjęcia

odpowiedniego kanonu rysunku architektonicznego dla uzyskania korzystnego przekazu, oraz wykazanie, że w doborze graki powinna istnieć do-

wolność. Autorka skoncentrowała się na prezentacji i analizie projektów architektonicznych wykorzystujących różne konwencje rysunkowe. Projekty

pochodzą z XIX i XX w. – okresu, kiedy już obowiązywały reguły zawartości i wyglądu opracowań architektonicznych. Był to też czas, kiedy po-

wszechną praktyką był rysunek architektoniczny wykonywany tradycyjnie, za pośrednictwem kresek stawianych ręcznie na papierze.

Z analizy opracowań architektonicznych wynika, że rysunek architektoniczny w działalności zawodowej architekta jest jej integralną częścią.

Przyjęta przez architekta konwencja rysunkowa wynika często z tematu przedsięwzięcia, kontekstu lokalizacji, stylu epoki, osobowości autora.

Powyższa zależność skłania do konstatacji, że prawo wyboru techniki rysunkowej powinno pozostawać w gestii twórcy, z zachowaniem zasad

wiedzy technicznej i wypracowanych norm czytelności rysunku.

Słowa kluczowe: projekt budowlany, warsztat architektoniczny, rysunek architektoniczny

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