Some images of Revit work - Classical French Renaissance facade study Part 1

See the second part of this post

Into the Dark Area of ideas

In 1996, Indian Architect builder commissioned articles on the importance of sketching in architecture. Having trained under Anant Raje, I took the opportunity to interview him as his sketches were legendary. Below is the text of the interview interspersed with the pages of the magazine as published in Jan - Feb 1996.



Could you explain how sketching aids the design process in architecture?

Sketching basically is an exploration in searching for form and spaces, without any accuracy of dimensions or material choice. The thick or the thin lines with smudges, suggest the density of mass with minute pores for desired intensity of light. The whole idea of sketching should remain extremely nebulous.

Due to the advent of computers very few architects ,tend to sketch. Do you believe technology can replace the good old charcoal stick or the pencil?

Frankly, anything is possible through computer-aided graphics for design. But, without an idea or feel for what one is looking for, the computer may turn out what seems to be acceptable in the very first attempt. The diagrams may be so perfect that a trap could be laid and the rejection may take a long time, in the absence of direct involvement of a certain feeling which is necessary to probe into the dark areas of ideas.

In connection with the above question, do you personally believe that sketching can improve the quality of drawing?

Not necessarily. Sketching without formulation for a statement of problem, however diffuse it may seem, may lead to irrecoverable situations. The progressive development of a sketch, without control on the overall scale of the project, would make it difficult to assess the nature of spaces and their desired relationships to the overall character.

How is sketching important to you in your Architecture?

There is a certain freedom from mundane aspects of the programme of requirements. Those spaces which were not thought of earlier suddenly surface, indicating the new beginning, to reorganise or compose parts of building plans with interior and exterior spaces. The hardline drawings, which then follow, give something which was not thought of before.

Your sketches are known for their correct proportions - to the extent that they can be scaled and drawn - can you tell us how you achieved this?

The eye has to be disciplined and trained for minute observations, in the visual context of a given place or position in space. Otherwise, it would be difficult for the hand to record the impressions of what is being observed in the mind's eye and coordinate the same impression through the hand on paper. The impressions could be of such urgency that instant choice of medium, to record, is of the foremost necessity for the architect. In the absence of this, the essence of what is being recorded would be lost, making room for what is described as a meaningless record, pages after pages, incredible in quantum but devoid of character. Proportions in sketches - are not necessarily essential. To change proportions is one's own prerogative, to heighten the impact of communications. To lend correct proportions in sketches may be generated from being continuously self-critical, until the hand draws what the eye sees.

In your sketches how do you achieve a sense of light.which becomes crucial to characterise the space as an enclosure?

The light has to be sensed. Its intensity lies in the first dense mass drawn with charcoal or graphite or any other medium. It is trapped. It needs to be released.

Sketches often lead to the final choice of materials. Is this true for your design?

It is difficult to sketch without some sort of an idea about the material. The material has a direct relationship with light. The material and its form, has a character which can only be enhanced in the presence of light.

Do you have any favourite subjects that you like to sketch?

Mostly parts of buildings, with or without some sha-:!ows. The stronger the shadow, the stronger the building form. The joints of branches of trees, small plants, rock formations and hoofs of animals.

What effect did Kahn's sketches have on you? Could you tell us about the aspects of his sketching that have influenced you? During my apprenticeship with you I have often heard you mention Giovanni Batista Piranesi and Antonio Sant 'Ella. Can we discuss how their sketches also influenced you?

Drawing with charcoal came from observing Kahn's drawings and their development at various stages, till the sketch became communicable through its substance and its graphic qualities. Both the Piranesi's and Sant 'Elias drawings were inspiring in their densities and tonal values. Their drawings were directed towards spatial compositions. This was most important to learn.

Architects like Mies, Corbusier, Kahn and Mendelssohn have designed buildings which have become landmarks in the history of Modem Architecture. Corbusier was also a pioneer of an art movement. Would you say that their ability to sketch contributed to their architecture?

The architects who are mentioned were artists. Artists have to have a medium through which abstract ideas can become commmunicable. The sketch leaves an imprint of the message on the artist. This is an inspiring moment, without which the later development becomes characterless.

Sketching is acknowledged as an important tool of design in the field of Fashion Design. Set Designing for films, product design and so on. Satyajit Ray and Sergei Eisenstein were known for their ability to sketch.