the project . When we are in the middle of construction documents and struggling to detail an element , we still turn to this original concept for clarity .
We contribute a lot of drawing and study in both two and three dimensions during the early phases of design . It is important to note that many of our projects have a tendency to abandon the hand drawn studies after conceptual design and turn towards the computer for digital renderings . Pressure from architects we are collaborating with , the need to develop a more ‘ realistic ’ perception of the landscape , and individual designer capabilities are all reasons for this shift . Ironically , hand drawn studies are , at times , faster and more meaningful to our clients , especially at the beginning . Our clients appreciate that we can go to a meeting with these loose drawings , or better yet , that we can draw in front of them , transforming their ideas on trace as a collaboration . Many of our initial sketches are done with pencil , often just graphite with no color . Sometimes we use watercolor for diagrams . Other times we use clay models or hybridize photography with drawing .
The graphic medium changes depending on the project , the designer and the audience .
This primitive approach to conceptual and schematic landscape design remains grounded in the arts . We find camaraderie in the way Andrew Wyeth conveyed a sense of place at the Olson Farm through his pencil sketches and tempura paintings , or the way Maxfield Parrish diligently drew and watercolored the detail and ornament of the Italian villas . The art of sketching , whether it be in plan , section , or perspective , is a trade and talent that we are trying persistently to keep alive . The computer is the graphic tool emphasized in the majority of landscape architecture programs and many students coming into our office have little or no exposure to the art forms of sketching , drawing and painting compared to their experiences with Adobe Creative Suite and AutoCAD . We must work harder as teachers within our own practice to continue to
Boston Society of Landscape Architects Fieldbook
ABOVE Design development perspective for materials in a garden . Seal Harbor , ME
65