PREFACE
Drawing with afree hand holding apen or pencil remains the most direct and intuitive
means we have for recording our observations and experiences, thinking through
ideas, and diagramming design concepts. Chapter 10 therefore includes additional
instruction on freehand sketching and diagramming, and occupies a terminal
position to reflect its importance as agraphic skill and design tool.
Despite these incremental changes, the fundamental premise of this text
endures-drawing has the power to overcome the flatness of a two-dimensional
surface and represent three-dimension ideas in architecture inaclear, legible, and
al
convincing manner. To unlock this power requires t heability both to execute and to
read the graphic language of drawing. Drawing is not simply amatter of technique; it
is also a cognitive act that involves visual perception, judgment, and reasoning of
spatial dimensions and relationships.
V I PREFACE
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