Tag Archives: Sketches

25 years in drawings

What stories do drawings tell us? Each site, each client is different and each drawing represents a snapshot in time. Some of you may have seen the invitation that we sent out for our 25th anniversary party. We wanted to choose some drawings to represent the last 25 years of Bowles and Wyer. This was not an easy task – there are thousands of them! Each of the drawings we chose tells a story.

IMAGE No1 – A garden in Parliament Hill. Project 100

At the beginning of 1992 I was lead designer at Clifton Nurseries. I left there in the May of that year, two months after the birth of our first child (the illustrator and graphic designer, Polly Wyer: http://pollywyer.co.uk). My first project under my own name (job number 100 – I didn’t want to start at 1!) was a garden in parliament Hill, Hampstead. This was an interesting project – a ground floor flat belonging to a fund manager. The garden had two awkward features. One was a large angled rectangular ‘bite’ out of the plot. the other was more fundamental. The apartment had been extended out over the previous patio so that only about 70cm of flat space remained. Beyond that all you saw from inside was a retaining wall over one metre high and a load of weeds at the upper level. To combat this, I designed a ‘scoop’ of space at the lower level, leading up a flight of steps to a landing at an intermediate level. My solution to the odd shaped plot was to divide the space along two radii; one to a small circular sitting area to the left and the other to a narrow vista to a sculpture or pot. I remember doing this drawing; it was drawn by hand at home, around 10pm the day before I was meeting the client! I still like the design now. It went on site almost immediately and was my first project to be finished. The profit from this was basically my seed capital for the business.

IMAGE No2 – A trellis feature in Wilton Crescent, Belgravia. Project 154

 

A spot of Classical trelliswork! This was for a very grand house in Belgravia. A year has passed since the last project. The brief was to provide a shelf for planting at first floor level opposite the dining room and ‘something to look at’. This drawing got us the rest of the project and formed the basis of a long working relationship with PDP, with whom we still work today (Regent’s Crescent and Kings Road). Looking back I am fascinated to see the detail I went into with the notes and the fact that I combined presentation and construction on one drawing! All looks a bit classical now as well, although I do like it!

IMAGE No3 – Thames Court Roof Garden. Project 460

Although never built, this was one of my favourite projects. We were approached by the developers to design a roof terrace for a speculative office development overlooking the Thames in Central London. For the first time, we looked at the space in a really different way – back to first principles. The environment on roof terraces is always extreme – sunnier, windier, colder, hotter than it is at ground level. This design was strongly driven by its context. In terms of its physical environment, this led us to look at other similar environments and their ecologies. Cliff-tops, foreshores, dry hillsides and the like. This in turn drove the plant selection. It also led us to specify thinner, less fertile soils which required low levels of irrigation and were lighter. The historical context also played a part. the swooping lines on the drawing represent the different shorelines of the Thames over previous 2000 years or so and are expressed as cuts running through the timber decking. The ‘view contours’ of the St Paul’s visibility corridor were also influential in the design. This scheme permanently changed the way in which we approached all projects, but roof terraces in particular. (Drawings by Stephen Richards)

IMAGE No4 – Seafield House. Project 1155

One of the more unusual projects we worked on – conversion of a former nuclear bunker into a luxury home. The building and site had lain empty and unused for years. This was a challenging scheme, but also a fascinating one. This was the first time we began to merge three different media to give a cohesive drawing style – hand drawing, 3D packages (in this case SketchUp) and Photoshop. This combination is still at the centre of how we render work thirteen years later. (drawing by Neil Percival)

IMAGE No5 – The Lancasters. Project 1115

This was one of the most unusual (and for us iconic) projects we have worked on. We were approached by Northacre, a client with whom we had worked for many years, on a new development overlooking Hyde Park. I was struck by the flamboyancy of the original façades – the way they overlooked the park reminded me of promenade buildings. Later I discovered the architect had been influenced by French design, particularly on the Riviera. Following a lot of research, we came up with a design based on ornate contemporary C19th motifs, cut and pasted – almost sprinkled – in a randomised pattern along the garden. The scheme was finished of with a row of 6-7m high fan palms in front of the façade. The client was so delighted with this that they adopted the palm tree and the idea of travel to the Riviera as a theme for all the marketing for the event. (drawing by Neil Percival)

IMAGE No6 – A Hampstead Garden. Project 2160

This sketch is for a project about to go on site. The style layering digital and hand drawing is typical of the way we present designs at the moment. You can read more about how we build these up to the finished drawing in a separate blog-post: ‘Anatomy of a sketch’

So there it is – 25 years in six drawings. From the first one drawn in my flat in London in the spare room to the final one worked on by three different people and across three different software packages and hand drawings. The fascinating thing is that hand drawings are a consistent thread from 1993 to 2018.

 

if you want to read more about the history of Bowles & Wyer, go to ‘Who is Chris Bowles, How did it all start and where do we go from here?’

Here’s to the next 25 years!

 

Anatomy of a sketch.

It’s been a while since I last posted. Other things intervened; you know: life, the universe and everything.

I have always been fascinated between the balance between use of digital and hand media in both design process and presentation drawings. The process is influenced by the medium, and in turn influences the output. Some people are adamantly pro-digital and others insist that hand drawings are the only way. Sometimes these positions are held with an almost religious fervour. Although I am old enough to have been trained with only hand media, I have a fascination for digital tools as well. I am a firm believer (there we go again – religiosity!) in the simple connection between brain/eye and hand when designing. Nothing works quite as well as a fat felt pen or a soft pencil on white detail paper. The freedom of movement and thought that this brings is unrivalled; digital programs tend to make designers focus on detail too early in the process.

There is also the question of what clients relate best to, which varies with individuals. I well remember a morning a few years ago when I attended two client presentations one after the other, both with quite polished CGI-style renderings with sophisticated light and shade. At the first, the client was ecstatic about the design and presentation, remarking on easy it was to understand everything. At the second, the client was almost monosyllabic, and afterwards the architect (who had been biting his tongue in the meeting) tore me off a strip for the method of presentation – “they’re alright for people like us [i.e. design professionals] but clients like hand drawings”. We used to get into similar muddles with plans, although these days we have a protocol for design plans. For initial presentations we use CAD layouts to start with, but generally trace over by hand before rendering in a watercolour style in Photoshop. This is partly because people react well to hand drawn plans, but also because at sketch design stage we want to give the impression of flexibility, of not every detail having been resolved. The same applies to planning applications. At later stages (such as discharge of conditions) the reverse is true and we always use CAD drawings in black and white.

SketchUp is an enormously powerful tool. It has been revolutionary in design as an accessible method of exploring three dimensions, in garden design in particular. However, its influence has in some cases become somewhat insidious. I have written about this in two previous posts, both worth dipping into:  I’ve been using it increasingly, but I never touch it, and Thinking Outside the [White Rendered] Box. Actually I think as a profession we are beginning to move away from this now. The last two ‘best in show’ gardens at Chelsea illustrate this: Dan Pearson’s 2015 Chatsworth Garden and in particular Andy Sturgeon’s 2016 garden, which demonstrates a move towards a more angular dynamic approach to geometry.

For perspectives, having veered between different poles, we have now developed a hybrid method which seems to work well. Schemes are initially designed by hand, as is mostly the way in this office, with CAD layouts following soon afterwards. But for areas for which we are producing perspectives – often those that need further exploration or explanation – we develop 3D digital models, usually in SketchUp (geo-located for accuracy).

Fully rendered SketchUp tends to be rich in colour, but this can often be distracting.

In the past we have prepared fully rendered SketchUp models, but these days they are generally in plain white. Occasionally we show these to clients, but mostly we just use them to explore the space and elements. If you show clients fully rendered models, they tend to take them too literally. Once we are happy with the design, we output a view before using it as a base for a hand sketch.

 

 

The line sketch. Note that this is really simple with no hatch, shading or detail. This is all added later.

These are simple unshaded line drawings, intended as a base for further rendering. We then scan the sketch and import a shadow layer directly from the 3D model, which adds greater depth and realism.

A shadow map layer, taken directly from the SketchUp model

Finally, the drawing is rendered in Photoshop using watercolour brushes. Although the whole process sounds laborious, it is actually relatively quick. Even so, there are often two or three people working on it sometimes with input or advice from others; we tend to work very collaboratively here.

The finished sketch – light and airy with plenty of atmosphere. It has the advantage of showing detail where you want it but without being too literal.

The final result is usually graceful and airy, capturing something of the mood of the space whilst giving a genuine feel for the scale and texture. It is not for every project, but for those when you get short, infrequent slots with the client in which you have to work hard, this method is ideal.

I’ve been using it increasingly, but I never touch it.

I am a great believer in starting the design process on a drawing board. For me, there is nothing like a large blunt pencil or a fat marker pen and a blank sheet of white paper. Perhaps it’s just my generation? I don’t think that’s all it is though; As Milton Glaser put it: ‘There’s not enough fuzziness in a computer solution, so you figure it out too early, and what you get is a very well executed ordinary idea.’ I like that.

Continue reading