Architects and Drawing.

Progress, Volume VI, Issue 5, 1 March 1911, Page 591

Architects and Drawing.

("Illustrated Carpenter and Builder.") The relation between draughtsmanship and architecture was the subject discussed at the recent meeting of the Architectural Association. Mr. Gerald C. Horsley introduced the subject in a paper, which boldly proclaimed its main contention: "That fine draughtsmanship conduces to fine architecture. It is interesting to find an eminent architect putting in a plea for fine drawing in this uncompromising way, because the trend of discussion on this subject lately has been rather in the direction of belittling drawing as a handmaid of architecture. The misleading character of some perspectives and the difference in effect produced by the drawing and by the actual building have been commented upon,

and it has sometimes been suggested that architects have sought to conceal the poverty of their architecture behind the excellence of their drawings. There is no doubt constant need to remind the architectural student that an excellent drawing is not architecture. Nevertheless, it may be a symbol of fine architecture, and Mr. Horsley maintains that it generally aids its achievement. The philosophical basis of his plea for good draughtsmanship is interesting. Mr. Hosley's idea is that skill in drawing, once it is really attained, becomes a living mental force to the artist, an added force to his mental equipment. A fine draughtsman, he thinks, appreciates the qualities of objects better than a poor draughtsman can. Designing being a mental process, the importance of added mental force to the artist must result in more powerful work. Excellence in drawing has an educative influence which the architect who would be a capable artist cannot afford to neglect. Mr. Horsley holds that working drawings should not only give directions to the workmen; they should convey to their minds the very spirit and heart of the design. In the same way, sketches made for clients should not be mere diagrams; they should be drawn with intelligence and care, to create an interest in the architect's purpose and an understanding of his aim. In the interesting discussion which followed Mr. Horsley 's insistence on the importance of drawing found general agreement, though some speakers dissented from his views as to the logical connection between drawing and architecture. Mr.' C. F. A. Voysey, for instance, argued that drawing, like other forms of art, simply expressed qualities already present in the artist.