The book is a guide for students and teachers to understand the need for, the role of and the methods and techniques of freehand analytical sketching in architecture. The presentation focuses on drawing as an approach to and phase of architectural design. The conceptual goal of this approach is to use drawing not as illustration or depiction, but as exploration. The first part of the book discusses underlying concepts of freehand sketching in design education and practice as a complement to digital technologies. The main component is a series of chapters that constitute a typology of fundamental issues in architecture and urban design; for instance, issues of "façade" are illustrated with sketch diagrams that show how façades can be explored and sketched through a series of specific questions and step-by-step procedures. In the expanded and updated edition, a new part explores the questions and experiences of large architectural offices in applying freehand drawing in the practice of architectural design. This book is especially timely in an age in which the false conflict between "traditional vs. digital" gives way to multiple design tools, including sketching. It fosters understanding of the essential human ability to investigate the designed and the natural world through freehand drawing.
The project of naturalizing human consciousness/experience has made great technical strides (e.g., in mapping areas of brain activity), but has been hampered in many cases by its uncritical reliance on a dualistic “Cartesian” paradigm (though as some of the authors in the collection point out, assumptions drawn from Plato and from Kant also play a role). The present volume proposes a version of naturalism in aesthetics drawn from American pragmatism (above all from Dewey, but also from James and Peirce)—one primed from the start to see human beings not only as embodied, but as inseparable from the environment they interact with—and provides a forum for authors from diverse disciplines to address specific scientific and philosophical issues within the anti-dualistic framework considering aesthetic experience as a process of embodied meaning-making. Cross-disciplinary contributions come from leading researchers including Mark Johnson, Jim Garrison, Daniel D. Hutto, John T. Haworth, Luca F. Ticini, Beatriz Calvo-Merino. The volume covers pragmatist aesthetics, neuroaesthetics, enactive cognitive science, literary studies, psychology of aesthetics, art and design, sociology.
An increased public and academic interest in drawing and sketching, both traditional and digital, has allowed drawing research to emerge recently as a discipline in its own right. In light of this development, Writing on Drawing presents a collection of essays by leading artists and drawing researchers that reveal a provocative agenda for the field, analyzing the latest work on creativity, education and thinking from a variety of perspectives. Writing on Drawing is a forward-looking text that provokes enquiry and shared understanding of contemporary drawing research and practice. An essential resource for artists, scientists, designers, and engineers, this volume offers consolidation, discussion and guidance for a previously fragmented discipline.
John Parrington argues that social interaction and culture have deeply shaped the exceptional nature of human consciousness. The mental capacities of the human mind far outstrip those of other animals. Our imaginations and creativity have produced art, music, and literature; built bridges and cathedrals; enabled us to probe distant galaxies, and to ponder the meaning of our existence. When our minds become disordered, they can also take us to the depths of despair. What makes the human brain unique, and able to generate such a rich mental life? In this book, John Parrington draws on the latest research on the human brain to show how it differs strikingly from those of other animals in its structure and function at a molecular and cellular level. And he argues that this 'shift', enlarging the brain, giving it greater flexibility and enabling higher functions such as imagination, was driven by tool use, but especially by the development of one remarkable tool - language. The complex social interaction brought by language opened up the possibility of shared conceptual worlds, enriched with rhythmic sounds, and images that could be drawn on cave walls. This transformation enabled modern humans to leap rapidly beyond all other species, and generated an exceptional human consciousness, a sense of self that arises as a product of our brain biology and the social interactions we experience. Our minds, even those of identical twins, are unique because they are the result of this extraordinarily plastic brain, exquisitely shaped and tuned by the social and cultural environment in which we grew up and to which we continue to respond through life. Linking early work by the Russian psychologist Lev Vygotsky to the findings of modern neuroscience, Parrington explores how language, culture, and society mediate brain function, and what this view of the human mind may bring to our understanding and treatment of mental illness.
With the recent advent of technologies that make detecting art forgeries easier, the art world has become increasingly obsessed with verifying and ensuring artistic authenticity. In this unique history, Thierry Lenain examines the genealogy of faking and interrogates the anxious, often neurotic, reactions triggered in the modern art world by these clever frauds. Lenain begins his history in the Middle Ages, when the issue of false relics and miracles often arose. But during this time, if a relic gave rise to a cult, it would be considered as genuine even if it obviously had been forged. In the Renaissance, forgery was initially hailed as a true artistic feat. Even Michelangelo, the most revered artist of the time, copied drawings by other masters, many of which were lent to him by unsuspecting collectors. Michelangelo would keep the originals himself and return the copies in their place. As Lenain shows, authenticity, as we think of it, is a purely modern concept. And the recent innovations in scientific attribution, archaeology, graphology, medical science, and criminology have all contributed to making forgery more detectable—and thus more compelling and essential to detect. He also analyzes the work of master forgers like Eric Hebborn, Thomas Keating, and Han van Meegeren in order to describe how pieces baffled the art world. Ultimately, Lenain argues that the science of accurately deciphering an individual artist’s unique characteristics has reached a level of forensic sophistication matched only by the forger’s skill and the art world’s paranoia.
