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Norway based architecture studio Vardehaugen has created a series of life-sized project drawings in its own backyard. Inspired by the idea that the "bodily sensation of scale, or the notion of simply walking through a room, cannot be experienced through traditional 3D visualizations or scaled models," the 1:1 models allow for better understandings of dimensions and spatial sequences, even before the projects are built.
We believe good projects should be able to express and explain themselves. Architectural representation plays a fundamental role in how a project is perceived by the audience, which is why today ArchDaily is recognizing the most outstanding, original and self explanatory drawings of the year.
The selected drawings cover the diverse range of different techniques used in architectural representation today, from hand drawing images to perfectly detailed axonometrics and animated GIFs - but one thing they all have in common is the deep insights they provide into the appearance, construction or concept of the buildings they represent.
In the architecture world, there are a handful of persistent debates that arise time and time again: the challenges of being a woman in the field of architecture is one of them, for example; the problems of a culture of long hours and hard work is another. But one of the most enduring arguments in architecture - especially in the academic sphere - is the battle between hand drawing and computer aided design. Both schools have their famous proponents: Michael Graves, for example, was known as a huge talent with a pencil and paper, and came to the defense of drawing in articles for the New York Times, among others. Patrik Schumacher, on the other hand, is famous for his commitment to the capabilities of the computer.
To advance this heated conversation, two weeks ago we reached out to our readers to provide their thoughts on this topic in an attempt to get a broad cross-section of opinions from architects from all walks of life. Read some of the best responses after the break.
