Get the completely revised edition to mastering the visual language of architecture. In his distinctive graphic style; world-renowned author and architecture educator Francis D.K. Ching takes us on another exciting journey through the process of creation. In Design Drawing; Second Edition; he unmasks the basic cognitive processes that drive visual perception and expression; incorporating observation; memory; and rendering into a creative whole. This edition unites imaginative vision with fundamental architectural principles to cover the traditional basics of drawing; including line; shape; tone; and space. Guiding the reader step-by-step through the entire drawing process; Design Drawing also examines different types of drawing techniques such as multiview; paraline; and perspective drawings -- and how they can be applied to achieve stunning results. In addition; this edition: Goes beyond basic drawing booksmdash;Ching not only covers the principles; media; and techniques of drawing; but also places these within the context of what and why designers draw. Features more than 1;500 hand-rendered drawingsmdash;beautiful illustrations that reinforce the concepts and lessons of each chapter. Includes a supplemental CD-ROMmdash;viewers will gain a greater appreciation of the techniques presented in this book through the power of animation; video; and 3D models. Twelve new modules are included; as is a video of the author demonstrating freehand techniques in a step-by-step manner. For professional architects; designers; fine artists; illustrators; teachers and students alike; this all-in-one package is both an effective tool and an outstanding value; demonstrating concepts and techniques in a visually stimulating format that transends comparable works in the field.
#1074768 in eBooks 2013-01-18 2013-01-18File Name: B00B2OK82S
Review
1 of 1 people found the following review helpful. New take on a familiar topicBy Sarah LerchDiane Harris is a Professor of History; an architectural historian; and the Director of the Illinois Program for Research in the Humanities at the University of Illinois; Urbana-Champaign. Her area of interest is the intersectionality of racial and class identities and the built environment. Harris’ latest book; Little White Houses: How the Postwar Home Constructed Race in America; published in 2013; is an exploration of the social construction of whiteness in postwar America through suburban architecture and landscape. She concentrates on the time period of 1945 through 1960 and the structure of the “ordinary postwar home;†which she describes as ones built by developers for a mostly white; audience (4). She takes a new approach and enhances a familiar subject; post-War World II housing; by analyzing how cultural norms and iconography equated the standard single family suburban home with white middle-class families. Harris uses descriptions of her Jewish grandparents’ postwar house to give the reader a detailed sense of an actual “ordinary postwar home.†This example gives an added layer to the black vs white binary and as the case study provides intimate details of an immigrant family navigating a racialized housing market and interior space. Her sources are plentiful and varied; including floor plans; architectural drawings; advertisements; television programs; popular and trade magazines; and photographs. The visual images from these sources are included within the text; which greatly augments her argument by giving the reader a clear visual connection to the concept or space she is describing or analyzing. The most innovative and intriguing chapters of the book are the last three on the interior of the house and the surrounding landscape. Harris describes the racialized interior of these typical houses by looking at built-ins and closets meant for storage space. Using the example of her Jewish grandparents needing additional storage space to maintain a kosher household; she demonstrates that the “ordinary postwar house†was designed specifically for a public presumed to be white and Christian (185). She also explores the outside spaces of the home; including the fences; gardens; and lawns. Harris reveals that tending to lawns and gardens was presented as both a recreational and a status enhancing activity (270). She successfully emphasizes the idea that identity; whether it be racial or class; was formed; and continue to be formed; not only through cultural beliefs but through material culture and spatial arrangements.Harris turns the familiar post-World War II suburban housing development on its head by looking at the racial and class distinctions imposed on these neighborhoods through the juxtaposition of architecture and culture. She makes a convincing argument about the connection between the formation of non-white and white racial identities and the postwar suburban home. Harris’ extensive research; in-depth analysis; and nuanced approach of using material culture and space as evidence changes the way historians view postwar housing and race relations in America.0 of 0 people found the following review helpful. A wonderful; well researched book that looks at how postwar ...By dwayneA wonderful; well researched book that looks at how postwar suburban housing and its cultural associations defined race; class; gender; nationality; etc.2 of 2 people found the following review helpful. intenseBy American Manive never had my mind blown within the first few pages. this is (and should be) a controversial reappraisal of suburban architecture in the fifteen year period following world war ii. harris applies zizeks cynical reason to the design; construction; sale; and celebration of what are ostensibly bland looking houses. this bookss existence can almost be seen as a call to arms against the invisible ideology of the mundane; like bogost with more suspicion. hell; she even brings into light the cultural politics of the axonometric perspective. i am a game designer and between the notion of applying architectural rhetoric to our pseudo-worlds; thinking about the fashion / art-politic concerns in our choice of mechanical (or non) perspective and rewriting how i look at my workspace; this book is more than worth the cost.