Architect Drawings - A Selection of Sketches by World Famous Architects Through History

289 Pages·2012·10.89 MB·English

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ARCHITECTS’ DRAWINGS
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A RC H I T E C T S ’
D R AW I N G S
A Selection of Sketches by
World Famous Architects
Through History
KENDRA SCHANK SMITH
AMSTERDAM (cid:127) BOSTON (cid:127) HEIDELBERG (cid:127) LONDON (cid:127) NEW YORK (cid:127) OXFORD
PARIS (cid:127) SAN DIEGO (cid:127) SAN FRANCISCO (cid:127) SINGAPORE (cid:127) SYDNEY (cid:127) TOKYO
Architectural Press is an imprint of Elsevier
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Architectural Press
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First published 2005
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C O N T E N T S
Acknowledgements vii
List of Illustrations ix
Introduction 1
Chapter 1 Renaissance (1500–1650) 19
Chapter 2 Baroque, French Classicism and Rococo (1650–1750) 46
Chapter 3 Neoclassical, Neogothic, Beaux-Arts (1750–1870) 70
Chapter 4 American Neoclassicism and the Emergence of the
Skyscraper (1870–1920) 97
Chapter 5 The Turn of the Century Europe and its Influences,
Prelude to Modernism (1870–1910) 111
Chapter 6 Early Modern (1910–1930) 141
Chapter 7 Modern and Postmodern (1930–1980) 164
Chapter 8 Contemporary (1980–) 207
Index 261
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AC K NOW L E D G E M E N T S
This book was supported by a grant from the Graham Foundation for Advanced Studies in
the Fine Arts. I would also like to thank the University of Utah for supporting this project
through a University Faculty Research Grant and the approval of a sabbatical leave.
I would like to offer my appreciation to the many people who helped prepare this book
for publication. This includes the many archivists who sent copies of the illustrations, helped
arrange copyright permissions, and graciously accommodated my visits. My thanks goes to
the numerous friends and colleagues who provided suggestions and helped me make initial
contacts, I truly appreciate your interest in this project. Professor Uchida and the independ-
ent researcher So Hatano, of the Tokyo Institute of Technology, were especially helpful in
locating images from the historic Japanese architects. To all the contemporary architects who
graciously sent their sketches for inclusion in this volume, I offer my appreciation.
I would like to thank the students at the College of Architecture(cid:1)Planning, University of
Utah, who helped me translate correspondence. Ben Lawrence was particularly talented in
editing the text for consistency and grammar, thanks for your candid questioning. I would
like to recognize the Undergraduate Research Opportunities Program students, James Gosney
and Antonia Vazquez, who helped begin the initial research of architects and archives.
My heartfelt thanks to my Graduate Assistant, Brenda Roberts, who catalogued research
materials, scanned images, coordinated correspondence, reviewed the text, and generally
helped in many ways for over a year. I appreciate your cheerful attitude. Thank you for your
patience and incredibly charming correspondence.
I would like to thank Dr. Marco Frascari for his insightful advice throughout the years. To
my family who always believed in this project, I appreciate your support. Most of all, I would
like to thank my husband Albert C. Smith, for his encouragement and consistent faith that
this book would happen.
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I L L U S T R AT I O N S
Figure 1.1 / Bramante, Donato
Untitled. Uffizi, UFF 1714 A. Approx. 15.5 (cid:2) 16.6 cm; ink on paper. ©Uffizi Gallery,
Florence, Italy.
Figure 1.2 / da Vinci, Leonardo
Codex Atlanticus, studies for the tiburio of Milan Cathedral. Biblioteca Ambrosiana, f. 851 recto.
28.2(cid:2) 23.7 cm; ink; c. 1487. ©Biblioteca Ambrosiana, Milan, Italy.
Figure 1.3 / Peruzzi, Baldassare
Study of a sepulchre. Uffizi, UFF 159 A. 12(cid:2) 13 cm; brown ink and wash. ©Uffizi Gallery,
Florence, Italy.
Figure 1.4 / da Sangallo, Antonio
Design for a freestanding tomb seen in elevation and plan. Uffizi, UFF 1153 A.v. 11.1 (cid:2)
15.5 cm; Pen and brown ink, brush and brown wash, on tan laid paper; 1484–1546. ©Uffizi
Gallery, Florence, Italy.
Figure 1.5 / Buonarroti, Michelangelo
Base/molding profile studies for San Lorenzo (Basi di pilastro per la Sagrestia Nuova, scritte
autografe). Fondazione Casa Buonarroti, 10 A recto. 28.3 (cid:2) 21.4 cm; red chalk, pen and
ink; c. 1520–1525. ©Fondazione Casa Buonarroti, Florence, Italy.
Figure 1.6 / de L’Orme, Philibert
Heliocoidal staircase in perspective. Musée du Louvre, INV 11114, recto (ART157963).
38.2 (cid:2) 24.3 cm; brown ink, black lead, feather pen; c. 1505–1568. ©Musée du Louvre,
Départment des Arts & Graphiques. Photo credit: Réunion des Musées, Nationaux/Art
Resources, NY.
Figure 1.7 / da Vignola, Giacomo Barozzi
Elevation, sections sketch page. Uffizi, UFF 96 A.v. 30 (cid:2) 44.5 cm; ink and wash. ©Uffizi
Gallery, Florence, Italy.
Figure 1.8 / Palladio, Andrea
Sketch page for the Baths of Agippa, and Hadrian’s Villa, Tivoli. RIBA, VII/6R verso.
Approx. 7(cid:2) 10 in; ink on paper. ©RIBA Library Drawings Collection, London, England.
Figure 1.9 / Scamozzi, Vincenzo
Study sketch of column capitals. Uffizi, UFF 1806 A.v. Ink, wash and graphite. ©Uffizi
Gallery, Florence, Italy.
Figure 1.10 / Jones, Inigo
Studies of voussoired windows, after Serlio. RIBA, Jones & Webb 76, 77, 78. #76: 16.7 (cid:2)
16.5 cm; #77: 8.2(cid:2) 19.8 cm; #78: 28(cid:2) 19.1 cm; graphite, pen and brown ink with brown
wash over scorelines; 1618. ©RIBA Library Drawings Collection, London, England.