000			02820cam a2200313Ma 4500
001			0000063790
003			0001
008			140411s2013 nju 001 0 eng d
015			_aGBB389858 _2bnb
020			_a9781118700648 (pbk.)
020			_a1118700643 (pbk.)
035			_a(OCoLC)859558480
040			_aUKMGB _beng _cUKMGB _dOCLCO _dBDX _dYDXCP
082	0	4	_a720.222 _223
084			_a720.222 _bCOO-D
100	1		_aCook, Peter, _d1936-, _eauthor.
245	1	0	_aDrawing _h[Book] : _bthe motive force of architecture / _cby Peter Cook.
250			_a2nd edition.
260			_aHoboken, New Jersey : _bJohn Wiley & Sons, _c2013.
300			_a248 p. : _bill. ; _c23 cm.
440		0	_aArchitectural design primer
490	0		_aArchitectural design primer.
500			_aPrevious edition: Chichester: Wiley, 2008.
500			_aIncludes index.
520			_aFocusing on the creative and inventive significance of drawing for architecture, this book by one of its greatest proponents, Peter Cook, is an established classic. It exudes Cook's delight and catholic appetite for the architectural. Readers are provided with perceptive insights at every turn. The book features some of the greatest and most intriguing drawings by architects, ranging from Frank Lloyd Wright, Heath-Robinson, Le Corbusier, and Otto Wagner to Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Arata Isozaki, Eric Owen Moss, Bernard Tschumi, and Lebbeus Woods; as well as key works by Cook and other members of the original Archigram group. For this new edition, Cook provides a substantial new chapter that charts the speed at which the trajectory of drawing is moving. It reflects the increasing sophistication of available software and also the ways in which 'hand drawing' and the 'digital' are being eclipsed by new hybrids—injecting a new momentum to drawing. These 'crossovers' provide a whole new territory as attempts are made to release drawing from the boundaries of a solitary moment, a single-viewing position, or a single referential language. Featuring the likes of Toyo Ito, Perry Culper, Izaskun Chinchilla, Kenny Tsui, Ali Rahim, John Berglund, and Lorene Faure, it leads to fascinating insights into the effect that medium has upon intention and definition of an idea or a place. Is a pencil drawing more attuned to a certain architecture than an ink drawing, or is a particular colour evocative of a certain atmosphere? In a world where a Mayer drawing is creatively contributing something different from a Rhino drawing, there is much to demand of future techniques.
650		0	_aArchitecture _vDesigns and plans.
650		0	_aArchitecture, Modern.
852			_p47376 _94611.60 _h720.222 COO-D _vGlobal~Link Information Services _bGround Floor _dBooks _t1 _q2-Good _aJZL-CUI
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