Practice Led Reseach Samuel Lawrence Evans Arco 215 10404922 3 / 1 / 14

Authors Notes

Acknowledgments
A special thank you to ; Sam Warn, Alex Baker, Charlotte Madgwick, Andy Humphreys, Alex Fell, Annabel Field, Ieuan Evans and Tom Wakelam for their participation in my Research.

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My Own Interpertation of Architectural Langauge ( sic )

Contents
Authors Notes - i Acknowledgments - ii Contents - 1 Introduction - 2 A Better Understanding - 3
( Dyslexia Within Architecture at University )

Proposal - 5,6 Participant Content - 7, 12 My Own Interpertation of Architectural Langauge - 13,14 Conclusion - 15,16 Footnotes - 17,18 Bibliography - 19,20 1

Introduction Usually when people hear the word dyslexia they think only of reading, writing, spelling [problems] Some associate it only with word and letter reversals, some only with slow learners. Almost everyone considers it some form of a learning disability, but the learning disability is only one face of dyslexia.1

It is a well-known and recognized fact that people with dyslexia struggle with the written word. But it is also thought that people with dyslexia have a better dimensional understanding than people without dyslexia. Richard Rogers talks about his dyslexia in a similar way, I still dont draw as well as most architects. There are a lot of architects who are dyslexic, the question is: do we have a better spatial understanding, which is what I say2 with this idea I believe that architecture should change. That we should convert from the convention of writing theory to drawing theory. Some architects believe this should be the way forward, to strengthen their concepts, Architects give their ideas physicality through drawing3

Dyslexia is a specific learning disability that is neurological in origin. It is charectorized by difficulties with accurate and/ or fluent word recognition and by poor spelling and decoding abilities. These difficulties typically result from a deficit in the phonological component of language that is often unexpected in relation to other cognative abilities and the provision of effective classroom instruction. 4 - Definition of dyslexia

Information sourced from : Plymouth University statistics of 2012-2013

Proposal I propose a new language. A language that negates the issues associated with dyslexia and instead plays to the strengths. Will Jones talks about drawing as a language:

When we consider drawing literally as a language, we can recognize it as a fluid, ever-evolving means by which to express discuss and state ideas or tell anecdotes with a multitude of accents and mannerisms and even with wit. You can say whatever you want in whatever way you want. A drawing can be a snapshot of a distinct thought, sometimes an unfinished idea or something not yet useful. It is a medium that does not require a conclusion, but gives us the means to discuss possibilities. In such a provisional form a drawing is referred to as a sketch it is the embodiment of a free conversation.5

Each participant was asked to write a small discription of a place they are fond of. They were then asked to draw what they had described quickly. I instructed each individual that it should be more about the qualities of the place and what makes it special, rather than the details of the drawing. ( less than 3 mintues ) I want to compare how dyslexic people and people without dyslexia fare against each other, but first i want to compare how the description compares to drawing.

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Ieuan Evans (stage 2 architecture student) Lying in a field looking up at the night sky. Non-dyslexic

Alex Fell (stage 2 architecture student) depiction of his Grandparents house. Non-dyslexic

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Tom Wakelam (stage 2 architecture student) Depiction Of Chatenham Racecourse Non-dyslexic

Annabel Field (stage 2 architecture student) Diagraming home Non-dyslexic arriving

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Samuel Warns (Stage 3 architecture student) depiction of a place he worked during the summer holidays. Dyslexic

Alex Baker (stage 3 architecture student) depiction of her family kitchen. Dyslexic

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Charlotte madgwick (stage 3 architecture student) Depiction of a tree where she often eats breakfast at home. Dyslexic

Andy Humphres (Stage 2/3 architecture leader) Depiction of how two differnt terraces feel. Dyslexic

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My Own Interpertation of Architectural Langauge ( sic ) Drawings not only allow people to visualise but also feel. Value drawings (rendering in shade and shadow) tend to convey emotions better than line drawings6 this forms a deeper understanding. Becoming more technically able means that the art of drawing is becoming lost, people rely on CAD, which in my opinion is a final step rather than a starting point. But it is perhaps not surprising, given the nature of the discipline, that the immediacy of hand made drawing has all but vanished from todays architectural profession.7 Architecture is predominantly a physical occupation; therefore I believe it should be communicated as such. I always start with pen, pencil and paper, when visualizing my projects, says Ben Addy.8 I believe that drawing is connected to every communication technique. Alberto Giamcometti once said, It is in fact only drawing that counts. One must cling solely, exclusively to drawing. If one could master drawing, all the rest would be possible.9 It is not realistic drawing that I am interested in; it is the communication, the development of a drawing into an idea:

Sketches fall broadly into two categories. First are those that simply register the world around us [] These drawings may be more or less realistic. Second are sketches that come entirely from the imagination. These drawings are about finding as much as expressing them. They can vary from an irrational doodle to a swift cluster of lines that synthesize a whole project or concept; a drawing that capture the whole sense of a proposal.1o

The concept sketch is the embodiment of my idea, The concept sketch is actually a modern invention [] todays concept sketch tends to be visually diagrammatic and simplistic in content.11 This allows people with dyslexia to convey their ideas without the hindrance of words. Drawing doesnt have to be artistic, A successful drawing is one that clearly conveys intentions and ideas.12 I believe that a change in architectural theory is a necessity, Mo Zell takes this one step further, architectural drawing [ ] the fundamental architectural language necessary for future success in the profession.13

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Conclusion In almost every Example I believe that this experiment has been a success. Finding that drawing is a language with which everyone can communicate effectively. This is important for aspiring architects. Architecture is an intellectual and physical endeavor. That is, architecture is the amalgamation of intention ( idea ) [] These architectural representations exemplify a visual language with rules, conventions and meanings. They are essential tools for designing, describing and exploring your surrounding environment.14 It has also shown that people with dyslexia are much more expressive at a physical level than they are at a written one.

Once as a guest on a television show, I was asked about the positive side of dyslexia. As part of my answer, I listed a dozen or so famous dyslexics. The hostess of the show then commented, Isnt it amazing that all those people could be geniuses in spite of having dyslexia. She missed the point. Their genius didnt occur in spite of their dyslexia, but because of it!15

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Footnote 1 Davis, R.D.D., The Gift of Dyslexia: Why Some of the Smartest People Cant Read and how They Can Learn (New York: Berkley Publishing Group, 1997), p.3. 2 Rogers, Richard Richard Rogers, Architect The Yale Centre For Dyslexia and Creativity, http://dyslexia.yale.edu/rogers.html [ accessed 18 December 2013 ]. 3 Zell, Mo, The Architectural Drawing Course: understand the principles and master the practices ( London: Thames and Hudson, 2010 ), p.20. 4 Holliman, A.J.H, The Routledge International Companion To Educational Phychology (New York: Routledge, 2014 ), p.297. 5 Jones, Will, Architects Sketchbooks London: Thames and Hudson , 2011 ) , p.9. (

6 Frederick, Matthew, 101 Things I Learned in Architecture School (London: The MIT Press Cambridge, 2007 ) , p.36. 7 Dernie, David, Architectural Drawing ( London: Laurence King Publishing Ltd, 2010 ), p.7. 8 Jones, Architects Sketchbooks, p.31.

9 Dernie, Architectural Drawing, p.6. 10

Dernie, Architectural Drawing, p.90.

11

Dernie, Architectural Drawing p.90.

12 Zell, The Architectural Drawing Course: understand the principles and master the practices, p.18.

Zell, The Architectural Drawing Course: understand the principles and master the practices, p.11.
13

Zell, The Architectural Drawing Course: understand the principles and master the practices, p.7.
14 15

Davis,The Gift of Dyslexia: Why Some of the Smartest People Cant Read and how They Can Learn, p.3.

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Bibliography Frederick, Matthew, 101 Things I Learned in Architecture School ( Cambridge: The MIT Press, 2007 ) Jones, Will , Architects Sketchbooks London: Thames and Hudson , 2011 ) (

Dernie, David, Architectural Drawing ( London: Laurence King Publishing Ltd, 2010 ), Zell, Mo, The Architectural Drawing Course: understand the principles and master the practices ( London: Thames and Hudson, 2010 ) Serafini, Luigi, Codex Seraphinianus ( New York: Abbeville Press, 2005 ) Rogers, Richard Richard Rogers, Architect The Yale Centre For Dyslexia and Creativity, http://dyslexia.yale.edu/rogers.html [ accessed 18 December 2013 ]. Holliman, A.J.H, The Routledge International Companion To Educational Phychology (New York: Routledge, 2014 ) Ballantyne, Andrew, Architecture: A Very Short Introduction ( Oxford: Oxford University Press, 2002 ) Coyne, Richard, Derrida for Architects ( United Kingdom: Routledge, 2011 )

 Rawes, Peg, Irigaray for Architects ( United Kingdom: Routledge, 2007 ) Ballantyne, Andrew, Deleuze & Guattari for Architects ( United Kingdom: Routlege, 2007 ) Hernandez, Felipe, Bhabha for Architects ( United Kingdom: Routledge, 2010 ) Fontana, G.F.G, Foucault for Architects ( United Kingdom: Routledge, 2013 ) Kidder, Paul, Gadamer for Architects ( United Kingdom: Routledge, 2013 ) Sharr, Adam, Heidegger for Architects ( United Kingdom : Routledge, 2007 ) Zumthor, Peter, Atmospheres ( Basel: Birhaser, 2003 ) Rasmussen, S.E.R, Experiencing Architecture ( Cambridge, The MIT Press, 1962 ) Davis, R.D.D., The Gift of Dyslexia: Why Some of the Smartest People Cant Read and how They Can Learn (New York: Berkley Publishing Group, 1997),

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Practice Led Reseach Samuel Lawrence Evans Arco 215 10404922 3 / 1 / 14

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Concisely Researches dyslexia and starts to offer alternative methods of communicating architectural theory, and examines the relevance of drawing compared to the written word. In particular the way drawing is suited to people with dyslexia by communicating ideas physically.

Samuel Lawrence Evans Stage 2 Architecture Student Plymouth University.