When we look at African architecture, we see the architectural diversity of a continent which has been shaped and moulded into its present form by a combination of internal and external factors. When we look at African architecture, there is also a tendency for certain regions to take precedence over other parts of the continent. The Tropical Modernist works of Maxwell Fry and Jane Drew in Ghana and Nigeria, for example, are extremely well documented. So is the extremely well-preserved colonial-era architecture of the Eritrean capital of Asmara. Yet, there seems to be parts of the continent that “slip under the radar” in African architectural conversations – and the book Architectural Guide: Sub Saharan Africa is a welcome addition to African architectural scholarship.
The following excerpt was originally published in Natascha Meuser's Construction and Design Manual: Architecture Drawings (DOM Publishers). With our industry's technological advances, "the designing architect is not simultaneously the drawing architect." Meuser's manual aims to help architects develop and hone their technical drawing skills as the "practical basis and form of communication for architects, artists, and engineers." Read on for ten freehand drawing exercises that tackle issues ranging from proportion and order to perspective and space.
What is beauty? A few years ago, a group of international researchers sought to unravel the mysteries of human beauty. They used state-of-the-art, totally impartial computer technology and a huge dataset to establish once and for all why particular faces are perceived as beautiful, and whether beauty exists independently of ethnic, social and cultural background; in other words, whether it can be calculated mathematically. The scientists input countless photos of faces from all over the world, each described by survey respondents as particularly beautiful, into a powerful computer. The resulting information, they believed, could be used to generate a face that would be recognized by any human being as possessing absolute beauty. But what the computer eventually spat out was a picture of an ordinary face, neither beautiful nor ugly, devoid of both life and character. It left most viewers cold. The accumulated data had created not superhuman beauty, but a statistically correct average.
