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PL
Three tendencies which go far beyond the narrowly understood technological issues seem to currently coexist in contemporary architectural practice. Some architects continue to regard hand drawing as being of primary importance at all stages of professional education as well as of the actual design process. Others, relying on the sensitivity and knowledge developed by their own personal experience with drawing, have accepted new technologies – perceiving the computer as an additional useful tool. At the same time the number of architects and students of architecture, for whom the era which preceded the information revolution constitutes a very distant past and the “analog” methods of imaging are pure exoticism, is continually on the increase. Trying to convince the skeptical representatives of the generation which has from the very beginning been shaped by digital media of the numerous benefits which can be derived from hand drawing – no doubt constitutes a fascinating challenge.
PL
In an era of ever more perfect digital tools, the ability to draw is no longer regarded as necessary in the execution of the architectural profession. Yet it is precisely the hand drawing that continues to be regarded as the irreplaceable instrument of creative intuition which surpasses even the most user-friendly “procedures”. A rediscovery of its advantages for both didactic purposes and architectural creativity is becoming an urgent need.
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