So many discussions about AI led me to look back in time. People say that the past always provides answers to our questions about the future. So this is the short interview that I took with Gordon Grice about architectural visualization and how it started back in the 20th century.
Gordon Grice is one of those who started out drawing architectural illustrations by hand. Since 1998, he has been a Senior Jury Advisor at the American Society of Architectural illustrators, annual competition. After meeting Gordon in person while serving as a jury member of the 2022 Architecture in Perspective competition, I got enthusiastic over the story of architectural illustration; how it started and evolved since the '60s, and most importantly, how architectural visualization altered the architectural industry overall.
Taras Kvitka: Hi Gordon, it is a pleasure talking with you today. Can you tell us a bit about the architectural visualization industry back in the '60s and '70s? What methods did architects use to illustrate and advertise their ideas?
Gordon Grice: The funny thing is — and most people have forgotten about this — that architects and other professionals didn’t advertise their services back then. In Ontario, Canada, where I live, architects were prohibited from self-marketing until 1984. As a result, the illustration industry was slow to develop. Architects worked with mockups and graphic illustrations, drawn for scale understanding, and for developers and builders to advertise their projects. The same illustrations were introduced at business meetings and printed in newspapers. As a newspaper advertisement, real estate developers mostly used black-and-white pen illustrations.
For magazines and sales offices, they preferred gouache illustrations. Here are a few of my drawings from the old days I constructed the drawings with hand-drawn perspective layouts. I also taught perspective drawing technique to Interior Design students. My drawings were done using a fountain pen on tracing paper, art first, but I soon graduated to drafting pens on mylar film. To add colour to my early drawings, I used magic markers on black-line diazo prints. Later, I coloured my black-and-white line drawings with Derwent coloured pencils. Other illustrators were using watercolour. Gouache and aquarelle techniques were also popular at the time.
TK: What software did architects use back then and how complex were they?
Can you share with us some images from that time?
GG: In the late '80s, much before the advanced 3D software existed, Macperspective and Architrion programs started to become popular. At the same time, architectural offices were using incredibly expensive standalone digital stations. Compared to the modern-day programs, these were very basic tools.
Gordon Grice is one of those who started out drawing architectural illustrations by hand. Since 1998, he has been a Senior Jury Advisor at the American Society of Architectural illustrators, annual competition. After meeting Gordon in person while serving as a jury member of the 2022 Architecture in Perspective competition, I got enthusiastic over the story of architectural illustration; how it started and evolved since the '60s, and most importantly, how architectural visualization altered the architectural industry overall.
Taras Kvitka: Hi Gordon, it is a pleasure talking with you today. Can you tell us a bit about the architectural visualization industry back in the '60s and '70s? What methods did architects use to illustrate and advertise their ideas?
Gordon Grice: The funny thing is — and most people have forgotten about this — that architects and other professionals didn’t advertise their services back then. In Ontario, Canada, where I live, architects were prohibited from self-marketing until 1984. As a result, the illustration industry was slow to develop. Architects worked with mockups and graphic illustrations, drawn for scale understanding, and for developers and builders to advertise their projects. The same illustrations were introduced at business meetings and printed in newspapers. As a newspaper advertisement, real estate developers mostly used black-and-white pen illustrations.
For magazines and sales offices, they preferred gouache illustrations. Here are a few of my drawings from the old days I constructed the drawings with hand-drawn perspective layouts. I also taught perspective drawing technique to Interior Design students. My drawings were done using a fountain pen on tracing paper, art first, but I soon graduated to drafting pens on mylar film. To add colour to my early drawings, I used magic markers on black-line diazo prints. Later, I coloured my black-and-white line drawings with Derwent coloured pencils. Other illustrators were using watercolour. Gouache and aquarelle techniques were also popular at the time.
TK: What software did architects use back then and how complex were they?
Can you share with us some images from that time?
GG: In the late '80s, much before the advanced 3D software existed, Macperspective and Architrion programs started to become popular. At the same time, architectural offices were using incredibly expensive standalone digital stations. Compared to the modern-day programs, these were very basic tools.
AutoCAD software was gaining popularity, but these were pricey programs to use just to build the perspective correctly. SketchUp (later Google Sketchup) became popular because it was free. A combination technique was frequently used: a perspective was built in SketchUp, and then ink or watercolors were added to a paper printout.
In general, SketchUp was a ground-breaking program at the time and had a significant impact on the entire architecture industry.
Taras: Gordon, how does today’s archviz industry alter the attitude toward the design process? What advantages did photoreal images offer architects?
Gordon: The real advantage, in my opinion, is that architects now have the opportunity to look at their design from all angles, constantly, making the design process more interactive and collaborative (thanks, in part to resources like BIM).
Before, architects had to have an inner sense of scale, space orientation, etc. to understand how the forms and spaces they created would feel and function. This was probably a good thing. But it took a lot of experience (as well as education) to develop this sensibility. Becoming a good design architect normally takes a while, since a lot of practice is required. Nowadays, architects have so much more to consider, from carbon footprint to risk management, to durability, that the speed and accuracy of digital design and presentation are a real blessing.
Taras: And finally, what do you consider the primary goal of architectural visualization studios?
Gordon: This is a really important question. I believe it is primarily about communication – getting architectural ideas across. This includes everything from ideation to marketing, Now that architects are free to advertise (almost 40 years later) they must be on display, participate in competitions, and promote their ideas in every way possible. Architectural visualization, when thoughtfully used, is a great way for a firm or a project to distinguish itself from the noise of information flow.
And of course, it is one of the most effective ways to express your unique ideas.
Taras: Well, thank you, Gordon Grice, for taking the time and making the effort to share your knowledge with me. It was a fascinating journey through the past and the history of architectural illustration.
In general, SketchUp was a ground-breaking program at the time and had a significant impact on the entire architecture industry.
Taras: Gordon, how does today’s archviz industry alter the attitude toward the design process? What advantages did photoreal images offer architects?
Gordon: The real advantage, in my opinion, is that architects now have the opportunity to look at their design from all angles, constantly, making the design process more interactive and collaborative (thanks, in part to resources like BIM).
Before, architects had to have an inner sense of scale, space orientation, etc. to understand how the forms and spaces they created would feel and function. This was probably a good thing. But it took a lot of experience (as well as education) to develop this sensibility. Becoming a good design architect normally takes a while, since a lot of practice is required. Nowadays, architects have so much more to consider, from carbon footprint to risk management, to durability, that the speed and accuracy of digital design and presentation are a real blessing.
Taras: And finally, what do you consider the primary goal of architectural visualization studios?
Gordon: This is a really important question. I believe it is primarily about communication – getting architectural ideas across. This includes everything from ideation to marketing, Now that architects are free to advertise (almost 40 years later) they must be on display, participate in competitions, and promote their ideas in every way possible. Architectural visualization, when thoughtfully used, is a great way for a firm or a project to distinguish itself from the noise of information flow.
And of course, it is one of the most effective ways to express your unique ideas.
Taras: Well, thank you, Gordon Grice, for taking the time and making the effort to share your knowledge with me. It was a fascinating journey through the past and the history of architectural illustration.