Technical design gives me brain ache

Image: Church of St Michael & All Angels, R.Norman Shaw

”Technical design gives me brain ache.”

That was Liam's conclusion after six weeks of struggle, realising that he'd made a mistake and would have to re-draw most of what he'd done.

I laughed, replying,

"Good. It should do. This stuff is hard and takes a long time to learn".

Liam is an architecture graduate trying to develop project technical drawings for the first time. These are the 'blueprints' that the builder will use to construct the building. They are put together under a ton of pressure to be correct and complete, as errors and omissions can be costly. For instance, when modifications are needed on site because a component doesn't fit or when a product requires replacement because it was specified incorrectly. Learning a complex skill in a context like this takes considerable commitment and care. But how can it be made easier for a beginner? How can the brain ache be reduced?

Developing the technical design is iterative and involves much decision-making and co-ordinating a vast amount of data. Drawings are used to both trial ideas and describe final solutions. As well as being able to draw, an architect must acquire knowledge across various subjects, from material science to structural systems, thermal performance, weather tightness and sustainability. An architect must ensure building safety and compliance with building codes and be confident that the design is buildable.

When I was training, I produced technical drawings by hand - computer-aided systems were some way off - and I've always been grateful for the experience this brought. Given some proficiency, I found that drawing by hand allows you to forget about the act of drawing and focus on the important thing: the design. This internalisation of a fundamental skill is crucial and has parallels in many other fields. A golf professional about to tee off doesn't think about their swing but about the course, the wind and the opposition. A virtuoso violinist about to begin a performance doesn't think about bow technique but focuses on interpretation and the emotion they wish to convey.

The other important aspect of drawing by hand is that it can be quick and approximate and is therefore appropriate for evaluating the initial solutions under consideration - which, to start with, don't require too much accuracy or detail. Multiple drawings exploring different aspects of the design can be laid out or pinned to a wall, allowing you to stand back and obtain a more comprehensive view. It also makes it easier for others to review progress and provide feedback and suggestions as the drawings develop.

The problem is that since I was a young architect, technical drawing production has changed from the use of fibre-tipped pens on yellow-trace to computer-aided production in two dimensions, to computer-aided in three dimensions, to building information modelling, to virtual reality. And now, the industry is changing again as artificial intelligence influences drawing production. Liam's ability to internalise his drawing skills is frustrated by the ever-changing technology of drawing production. The goalposts keep shifting, and for a beginner, the need to learn the latest techniques is an energy-sapping distraction.

Consequently, I encourage early-career architects to avoid computers, get out their old-style drawing boards and do everything by hand. At least in the early stages of technical design, when critical decisions are made, and the principles of construction are agreed. It may seem anachronistic to suggest such an outdated method - I am frequently the butt of old-timer jokes - however, architects in Liam's situation are grateful for any simplification of the process.

There is another reason, too. When clients are presented with a combination of drawings produced by computer and drawings created by hand, they are always attracted to the hand-drawn. There is something about computer drawings which causes the eyes of the viewer to glaze over. Is it the density of information, their complexity or their mechanistic nature? I'm not sure. However, experience shows that drawings produced by hand are more engaging and easier to understand; the human touch is more direct and conveys a sense that the architect knows what they're doing.

It may sound counter-intuitive, but well-crafted drawings produced by hand build confidence in both the architect and the viewer. They make life easier for architects by allowing them to forget about drawing production methods and focus on the real subject: technical design.