Tempietto Del Bramante

Janiculum Hill, Rome, Italy

Bramante, Donato
(1444-1514)

In the courtyard where St. Peter was thought to have been crucified, this small temple echoes circular classical temples in the Forum and elsewhere in Rome. The peristyle and steps circle around the main cylinder.

Sketch: Michael Graves

We would like to thank Russell Fernandez for sharing the sketch, from the new book Michael Graves; Images of a Grand Tour published by Princeton Architectural Press

Steven Holl's Sketches

Kiasma, Museum of Contemporary Art (Helsinki, Finland)

"In each project, we seek new ways to integrate an organizing idea with the programmatic and functional essence of a building. Rather than a "style" carried to different sites and climates, or pursued regardless of different programs, we seek the unique character of a program and site, local and global, as the starting point for an architectural idea."

"...as the perspective changes, as you move through space, you have a parallax of spatial overlap.This for me is central and in a certain way it's a small manifesto because you cannot photograph this phenomenon.You need to experience it by walking through the spaces in a building. For example, in my Helsinki Museum, there are twenty-five galleries in a sequence that are experienced like a musical cadence which takes half an hour to walk through the whole sequence. So, there is no way you can photograph that. "

Michael Maltzan's Sketches

UCLA Hammer Museum (Los Angeles, California)

"I can't say that I design in one way or another it is a lot more back and forwards... It is like casting a broad net and seeing what comes up... Some drawings, like plan sketches, are a little more accurate...I prefer the fast and fluid drawings...the best drawings are almost like a field where patterns begin to inter merge in the sketches...the ones that say 'OK here is the building' are the least interesting for me..."

"What I like the most about the drawings is where it feels like I am trying to find something...they are the best when there is a kind of freedom and when they seem to transcend a three dimensional understanding of the work - in a very abstract way. The three dimensional aspect sometimes becomes distorted when you are starting in one place and rotating around in the same drawing and you begin to feel something is about to happen...lots of ideas as opposed to specific representations of a building..."