Edward Denison – författare

A visually stunning guide to architectural drawing from the RIBA Collections for students and those wanting to understand how to develop their graphic and representation skills. Illustrated exclusively with drawings from the world''s largest and most prestigious architectural drawing collection, it features an international span of works ranging from the Palazzo Porto Festa by Andrea Palladio to the Viceroy’s House in New Delhi by Edwin Lutyens; from the illustration of Altun Kupri, Iraq, by Charles Felix Marie Texier to a coastal housing scheme by Balkrishna Vithaldas Doshi.

The book delves into the reasons behind why we draw and the various methods used, covering the entire design process – from nurturing the earliest ideas to aiding construction, as well as surveying, recording, communicating, and representing architecture in spatial, structural, and material terms. Focusing primarily on drawing techniques, it showcases a rich variety of different graphic styles, types, and modes of representation, presented thematically, offering a comprehensive overview.

This primer elevates the acquisition of practical drawing skills into a pleasurable experience, acquainting students with some of the most exquisite and accomplished graphic representations in the world.

A visually stunning guide to architectural drawing from the RIBA Collections for students and those wanting to understand how to develop their graphic and representation skills. Illustrated exclusively with drawings from the world''s largest and most prestigious architectural drawing collection, it features an international span of works ranging from the Palazzo Porto Festa by Andrea Palladio to the Viceroy’s House in New Delhi by Edwin Lutyens; from the illustration of Altun Kupri, Iraq, by Charles Felix Marie Texier to a coastal housing scheme by Balkrishna Vithaldas Doshi.

The book delves into the reasons behind why we draw and the various methods used, covering the entire design process – from nurturing the earliest ideas to aiding construction, as well as surveying, recording, communicating, and representing architecture in spatial, structural, and material terms. Focusing primarily on drawing techniques, it showcases a rich variety of different graphic styles, types, and modes of representation, presented thematically, offering a comprehensive overview.

This primer elevates the acquisition of practical drawing skills into a pleasurable experience, acquainting students with some of the most exquisite and accomplished graphic representations in the world.

Luke Him Sau/Lu Qianshou (1904–1991) is best known internationally and in China as the architect of the iconic Bank of China Headquarters in Shanghai. One of the first Chinese students to be trained at the Architectural Association in London in the late 1920s, Luke’s long, prolific and highly successful career in China and Hong Kong offers unique insights into an extraordinary period of Chinese political turbulence that scuppered the professional prospects and historical recognition of so many of his colleagues.

Global interest in China has risen exponentially in recent times, creating an appetite for the country’s history and culture. This book satiates this by providing a highly engaging and visual account of China’s 20th-century architecture through the lens of one of the country’s most distinguished yet overlooked designers. It features over 250 new colour photographs by Edward Denison of Luke’s buildings and original archive material.

The book charts Luke’s life and work, commencing with his childhood in colonial Hong Kong and his apprenticeship with a British architectural firm before focusing on his education at the Architectural Association (1927–30). In London, Luke was offered the post of Head of the Architecture Department at the newly established Bank of China, where IM Pei’s father was a senior figure. Luke spent the next seven years in the inimitable city of Shanghai designing buildings all over China for the Bank before the Japanese invasion in 1937 forced him, and countless others, to flee to the proxy wartime capital of Chongqing. In 1945 he returned to Shanghai where he formed a partnership with four other Chinese graduates of UK universities; but civil war (between the Communists and Nationalists) once again caused him and others to uproot in 1949. Initially intent on fleeing with the Nationalists to Taiwan, Luke was almost convinced to stay in Communist China but decided finally to move to Hong Kong. There, for the third time in his life, he had to establish his career all over again. Despite many challenges, he eventually prospered, becoming a pioneer in the design of private residences, schools, hospitals, chapels and public housing.

Luke Him Sau/Lu Qianshou (1904–1991) is best known internationally and in China as the architect of the iconic Bank of China Headquarters in Shanghai. One of the first Chinese students to be trained at the Architectural Association in London in the late 1920s, Luke’s long, prolific and highly successful career in China and Hong Kong offers unique insights into an extraordinary period of Chinese political turbulence that scuppered the professional prospects and historical recognition of so many of his colleagues.

Global interest in China has risen exponentially in recent times, creating an appetite for the country’s history and culture. This book satiates this by providing a highly engaging and visual account of China’s 20th-century architecture through the lens of one of the country’s most distinguished yet overlooked designers. It features over 250 new colour photographs by Edward Denison of Luke’s buildings and original archive material.

The book charts Luke’s life and work, commencing with his childhood in colonial Hong Kong and his apprenticeship with a British architectural firm before focusing on his education at the Architectural Association (1927–30). In London, Luke was offered the post of Head of the Architecture Department at the newly established Bank of China, where IM Pei’s father was a senior figure. Luke spent the next seven years in the inimitable city of Shanghai designing buildings all over China for the Bank before the Japanese invasion in 1937 forced him, and countless others, to flee to the proxy wartime capital of Chongqing. In 1945 he returned to Shanghai where he formed a partnership with four other Chinese graduates of UK universities; but civil war (between the Communists and Nationalists) once again caused him and others to uproot in 1949. Initially intent on fleeing with the Nationalists to Taiwan, Luke was almost convinced to stay in Communist China but decided finally to move to Hong Kong. There, for the third time in his life, he had to establish his career all over again. Despite many challenges, he eventually prospered, becoming a pioneer in the design of private residences, schools, hospitals, chapels and public housing.

This book explores China’s encounter with architecture and modernity in the tumultuous epoch before Communism – an encounter that was mediated not by a singular notion of modernism emanating from the west, but that was uniquely multifarious, deriving from a variety of sources both from the west and, importantly, from the east. The heterogeneous origins of modernity in China are what make its experience distinctive and its architectural encounters exceptional.

These experiences are investigated through a re-evaluation of established knowledge of the subject within the wider landscape of modern art practices in China. The study draws on original archival and photographic material from different artistic genres and, architecturally, concentrates on China’s engagement with the west through the treaty ports and leased territories, the emergence of architecture as a profession in China, and Japan’s omnipresence, not least in Manchuria, which reached its apogee in the puppet state of Manchukuo.

The study’s geographically, temporally, and architecturally inclusive approach framed by the concept of multiple modernities questions the application of conventional theories of modernity or post-colonialism to the Chinese situation. By challenging conventional modernist historiography that has marginalised the experiences of the west’s other for much of the last century, this book proposes different ways of grappling with and comprehending the distinction and complexity of China’s experiences and its encounter with architectural modernity.

This book explores China’s encounter with architecture and modernity in the tumultuous epoch before Communism – an encounter that was mediated not by a singular notion of modernism emanating from the west, but that was uniquely multifarious, deriving from a variety of sources both from the west and, importantly, from the east. The heterogeneous origins of modernity in China are what make its experience distinctive and its architectural encounters exceptional.

These experiences are investigated through a re-evaluation of established knowledge of the subject within the wider landscape of modern art practices in China. The study draws on original archival and photographic material from different artistic genres and, architecturally, concentrates on China’s engagement with the west through the treaty ports and leased territories, the emergence of architecture as a profession in China, and Japan’s omnipresence, not least in Manchuria, which reached its apogee in the puppet state of Manchukuo.

The study’s geographically, temporally, and architecturally inclusive approach framed by the concept of multiple modernities questions the application of conventional theories of modernity or post-colonialism to the Chinese situation. By challenging conventional modernist historiography that has marginalised the experiences of the west’s other for much of the last century, this book proposes different ways of grappling with and comprehending the distinction and complexity of China’s experiences and its encounter with architectural modernity.