Augmented Drawing: Redefining Sketching for the Digital Age
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“Imagine if you could see your ideas materialize in a matter of seconds, onsite and without waiting for construction to be finalized to evaluate and experience your design.”
Augmented drawing involves overlaying digital content onto the physical world through the lens of augmented reality. This process smoothly integrates digital elements, such as 3D models, animations or interactive effects, into real-world environments. Unlike traditional drawing methods confined to paper or canvas, augmented drawing liberates architects and designers from spatial limitations, enabling them to interact with their creations dynamically.
One of its most exciting aspects of augmented drawing is its interactive nature. Unlike static sketches on paper, augmented drawings can come to life through animations, sound effects and interactive elements. Architects can create dynamic compositions that respond to user input or change over time, transforming passive viewers into active participants. This level of interactivity adds a new layer of engagement and immersion to the creative process, captivating audiences in ways that traditional sketches cannot. By overlaying digital models onto physical environments in real-time, architects can explore spatial relationships, evaluate design proposals and visualize concepts with unprecedented clarity.
Admittedly, Augmenter Reality’s (AR) most groundbreaking quality is its ability to connect each specific architectural design with its site context. Consequently, augmented drawing offers architects a powerful toolkit for site analysis and contextual integration, enabling them to overlay digital models onto real-world environments to assess factors such as sunlight exposure, topography and surrounding architecture. By contextualizing designs within their physical surroundings, architects can ensure that their proposals harmonize with existing landscapes and urban contexts, enhancing the overall sustainability and livability of built environments.
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Augmented drawings also facilitate collaboration among stakeholders throughout the design and construction phases. By creating shared virtual environments, architects, clients, engineers and contractors can collectively visualize and interact with design proposals, fostering consensus and alignment on project objectives. It also provides intuitive tools for marking, highlighting and annotating design elements within the augmented environment. This visual communication not only promotes clarity but also reduces the potential for misinterpretation, leading to more efficient decision-making and smoother project workflows during construction.
Still, apart from these more “obvious” applications of AR, there have been numerous innovative projects where augmented drawings are used to access environments and spaces, which so far have been out of reach. One example is CapitolaVR’s Rembrant Reality App in Mauritshuis museum, which allows visitors to literally enter Rembrandt van Rijn’s painting The Anatomy Lesson of Dr. Nicolaes Tulp.
The painting’s virtual environment was made through 3D scanning techniques and actors, who posed as the subjects of the painting, creating a portal to a past, fictional setting. This revolutionary merging of art and technology suggests countless possibilities for architects and uncovers ways of accessing, experiencing and even redesigning spaces that were not only physically but also conceptually perceived.
Several tools and platforms have emerged to facilitate augmented drawing experiences. Techniques for augmented drawing vary depending on the desired outcome and the chosen platform. Architects may begin by sketching outlines on paper before overlaying digital elements using AR-enabled devices. Alternatively, they can directly draw within AR environments, leveraging tools like gesture recognition and spatial tracking to refine their compositions with precision. The one thing that remains constant, however, is that augmented drawing not only expands the possibilities of artistic expression but also transforms the creative process itself.
By bridging the gap between the physical and digital worlds, AR fosters a symbiotic relationship between the artist and their creation, blurring the lines between creator and spectator. It also democratizes creativity by lowering barriers to entry and fostering inclusivity. With accessible tools and intuitive interfaces, individuals from diverse backgrounds can engage in the artistic process, transcending traditional skill barriers to unleash their creative potential.
Since the beginning of the profession, sketching has been the most freeing tool for architectural drawing. It translates ideas, concepts and intentions to lines, textures and experiences, becoming the mediator between inception and reality. Ironically, augmented drawing blurs these boundaries even more. Its constant improvement on producing accurate spatial mappings and high-resolution augmented overlays leads to the creation of countless highly realistic augmented environments, which become backdrops for pioneering architectural designs, architectural conservation practices and real-time assembly processes.
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“The Last Resort, a black hole observatory located in Greenwich Park, is a testament to humanity’s quest for survival and a gateway between alternate dimensions. As the stars emerge each night, the observatory awakens, physicists gathering within hallowed halls and pooling centuries of knowledge into one goal: seeking an inter-dimensional refuge in the race against our planet’s dying climate.
“The Iceberg is among the first completed projects in the redevelopment of Aarhus’ former container port for 7,000 residents and 12,000 workplaces, spanning 800,000 meters square — one of Europe’s largest harborfront developments. The client, PensionDanmark, assigned CEBRA to maximize views and sunlight for every apartment. Challenging the master plan of closed blocks, The Iceberg consists of four L-shaped wings. The street spaces between the parallel wings open towards the water.
This imaginative drawing “Fable or Failure” by Alexander Jeong and Brandon Hing won the 2023 Architizer Vision Award for a Student Drawing in the Computer Aided category. Jeong and Hing’s rendering reimagines a multitude of fantastical scenarios through space travel. As the duo notes, “Fable or Failure is a project that seeks to reimagine how space travel can be conceptualized in the distant future of societal development.” Taking the shape of an exploded axonometric drawing, the winning entry uses black, white and grey linework and shading, as well as a single color to denote outer space.
“Where do we go when we read? The pub designed for Amsterdam’s city centre aims to answer this, creating a bar residing in the metaphysical, that through its drawings invite you in, wherever you may be visiting the pub from. The pencil drawings emerge from data collected within the site at dusk when the pub opens. Small devices constructed from black mirrors and poetic fragments were taken to the site at this time and created textual openings to it, using the fragments as locators.
“Underlining the idea that CAD drawings can be done in many different styles, the drawing VENUE ID PINKLAO-SALAYA “Shirakawa-go” by LWD.Co was the Vision Awards Studio Winner this year for Computer Aided Drawing. As the team outlines, it was made as an “inspired design that tells the story of a beautiful farming village nestled in the valley alongside the Shokawa River, where one might find an old house reminiscent of a childhood fairy tale.” Reading like a comic, the juxtaposition of angles, moments and frames moves the eye through the drawing and text.
“There is a universe of possibility that spans the distance between what we look at and what we see. And in that space is our experience of the world. This is what I try to paint — the experience of seeing my world — from perspectives both external and from within. And as such, dreams, memories, and pure imagination are every bit as valid as is anything that can be physically observed.”
“With this ink on paper drawing I explored the relationship of narrative and drawing. Drawn images often tell stories: the strongest stories often create imagery. The imagery I created is about, Jonathan Livingston Seagull, a book that I associate strongly with my own life. Jonathan is a seagull who leaves his flock to fly higher, explore, and learn new things. In the end, he finds his freedom and escapes from the cage where the cage represents limitations and a reality that was told to be the only reality. For me, the best way to realize that there are other realities is to travel and see people born and raised in different societies and cultures. The more I explore, the more I become free.”
“The tower of ilicity is an exquisite corpse that explores the duality of urban city life. Similarly to the SoHo block, the tower stitches together familiar, essential and mundane elements into a randomized agglomeration of components that follow a Truchet aperiodic tiling composition. This stitching together of random parts is a social and spatial condition, that challenges the occupant as they experience the assemblage through the lens of dirty realism.
“A semi-fictional view of an evening in Fengjing, China. All hand-done graphite pencil drawing with watercolour wash.
“Monsoon arrives misery every summer in the City of Chandigarh, Le Corbusier’s modernist metropolis. How does a landscaping intervention protect the city from inundation caused by climate change? Rather than obstruct the water, a network of sunken landforms and water-purifying facilities invites water into the city fabric. Waterscapes are juxtaposed against Le Corbusier’s greenery fingers across the city. Purified water will recharge the deep aquifers, an indispensable water source for commercial and domestic use.
“Alone. Confused. Frustrated. The more I try to hold on to memories that are slipping away from me, the more afraid I am that someday, there will be nothing left at all—nothing but a memory that has been forgotten by time itself.
“Nowadays, demolition waste creates the most significant waste stream in the world. By considering cities undergoing renovation, the author proposes a physical dissection of destructible buildings, their dismemberment and recycling through robotic automation according to their structure, material and condition. Specially designed machines curate and organize virtual and physical (“theatre”) archives of the targeted buildings under the demolition plan. Newly developed tectonic systems and spaces created in this way can be integrated into the urban fabric in close interaction with the existing landscape. In this way, the connection between the past and the future is built, and the identity and memories of previous generations, which are hopelessly erased in modern society, are preserved.”
“I imagine a future where the only boundaries of architecture are creativity and physics.
“Cafe Palace selected a series of plans of landmark buildings with different cultural backgrounds according to the composition of immigrants in the block, which served as the inspiration and design starting point of the overall underground space layout. Through the redefinition and blend of different architectural styles, an architectural atmosphere similar to the situationist concept was created.
“The Galveston Bay Park Plan (GBPP) project is a surge flooding protection, navigation enhancement, public recreation and environmental enhancement project that is unique in its scale, impact, innovation, and long-term adaptiveness. The GBP approach will be transformative to the Galveston Bay region by creating a permanent thirty-mile landmark that is central to the region’s resiliency strategy, economic vitality, habitat preservation, and standard of living.”
“This is a painting about the concept of architecture expressed through images in a dream world. The theme of the painting revolves around the culture of coffee and the society that is triggered by coffee as a sober dependency of people.
“A new stage in urban sprawl in a context of physical, environmental and energy insecurity: a pioneering and vertical colonization of abandoned places in urban or industrial centers. Of course, properties are being protected and mobility is being adapted, far from the architectural utopias. Factories are still running, weighing down a starless sky that vanity jets cross, each for himself, more than ever. After all, the garden is not doing so badly; as for the fauna, it is less certain.”
“This work depicts an interior view of a house we built in Whitechapel. The view is of the main ground floor living space, looking south to towards the courtyard. The space has contrasting volumes, with the large diagrid lantern light glazing contrasting with the lower perimeter spaces. I was interested examining the way in which the space is lit naturally, and how the fall of natural light affects the volumetric impression of the space. I felt that this required an image of high contrast. I tried to depict that wonderful time of day in early summer, when the sun has almost disappeared, but where the light remains vivid, and where the areas of the interior not directly lit recede into the increasing darkness.
“Iconic architecture enjoys celebrity status, a fame generated by the dissemination of glamorous images presented to the public for admiration and praise. While the formal language of this “star-chitecture” varies widely around the world, these static icons share rarified air in the top-ten lists and google searches where their images are most commonly consumed.
“The process of this drawing relies on previous reiterations from an earlier collage of building constructions, which fragmented into an imaginary landscape of ruins. Using a Xylene transfer of a black and white copy onto plaster, the ghostly images provide a ghost in which new constructions can be developed. The idea of the city as a continuous palimpsest evokes the nature of how cities transform throughout time by demolition, re-use or new construction. This additive transformation builds on the old to re-invent the composition. As an architectural speculation, the generative process of drawing yields new spaces and forms influenced by the pre-existing context of the ghost collage. These graphic ponderings stitch together the fabric of the old and new, complimenting and contrasting the organic and the man-made.
“The head, the heart, and Everything In Between. A Charlie Chaplin experience provides us humor, joy, and purpose connecting senses, feelings, and thoughts.
“Tied to its age-old exclusion of a ‘Colonial Party House’ Burt Hall reminiscences to days that now are gone. The drawing imagines an Adaptive Habitation future, breathing life into this melancholic giant. Home as an ever-evolving skin; shedding yet rejuvenating.
“Human race is living in the world which has all the impact of socio political, chaotic crisis and environmentally modified world. Weather its pandemic or any other natural disaster which is shaping up our society and climate. It’s the spirit of time which bring the evolution to any entity. No vision can be drawn by itself, it needs to have a situation, which brings the desire to accomplish absoluteness.
“Humanity has resorted to forsaking their flesh for the planet’s survival, and thus exists as immortal, machine lifeforms, as virtualised consciousness within vessels.
“Drawing from EM Forster’s 1909 short story “The Machine Stops”, this allegorical architectural drawing re-presents a seminal tale of environmental devastation caused by the 1860 New Zealand goldrush. Propelling the Otago region into economic prosperity, the mining operations were abandoned once the gold dried up—the forgotten industrial artefacts, environmental scarring, and their historic narratives slowly decaying over time, destined to be lost forever.
“A Dystopian metropolis constructed with on top of multiple levels of roads, Buildings and Structures. Sky ships deliver cargo from the air, while logistical lorries, tucks and cars services the city from the complex network of elevated highways. A place to explore endlessly.”
“The Choice” portrays a person standing on the brink of decision. He or she began life in today’s world, which is pictured behind them in a dim cityscape. The reason for the landscape tilt illustrates the uneasy feeling that we often get in life that things are not quite right. The personal decision that every human faces is represented: joining either utopia or dystopia.
“The wall wasn’t just there, it was everywhere. My gaze wandered endlessly and yet the wall seemed to move. What did you separate me from? The deeper I looked into it, the less I could grasp it and the more complex its structure became. It seemed to me that the wall was looking for a counterpart. She was a surreal lonely reality and my soul could see no beginning or end. Unlimited truth and infinite questions.
“Nature has always inspired architects. The famous architect Mies van der Rohe suggested that details are essential for architectural drawings as they are essential in nature. He used the term “God is in the detail” to emphasize this point. The infinite level of detail in nature is an abstract concept. In order to visualize this concept, I have drafted an architectural-themed cosmology drawing. This drawing is characterized by some scientific infographic about nature and an artistic interpretation of the universe.”
“Art cannot solve humanity’s problems, but it can be a refuge from daily frustrations or make us temporarily forget about problems by visiting a gallery, listening music etc.
“Observation and imagination. The white lines are a wireframe perspective of GOMA (Gallery of Modern Art) which sits on the Brisbane River at Kurilpa Point (Queensland, Australia). Using early photographs of European settlement, explorers’, convicts’ and botanist’s’ accounts along with indigenous histories, I was able to site this existing building within a landscape which I imagine would be very similar to that the indigenous population experienced pre settlement.
“‘Living Lemon Life’ responds to the current development dilemma in Ikuchijima, Japan. Ikuchijima, a trading hub in the Seto Inland Sea, is a beautiful island famous for its popular cycling route, best-selling domestic lemons and an abundance of museums. However, population loss has been affecting the island’s population structure and sustainable development.
“Examples of architecture can too often be seen as solid objects, but of course, they are not. They contain spaces, voids in which humans interact, work and play, love and live. In this sense, the volumes contained by architecture are the collective kinetic stories of all who have gone before and will yet arrive. This drawing – “Up” – explores the energies of that process, the ideas of entrance and exit, of doors and stairways that we all employ to knit our internal lives to the external world and in some silent way, to one another and to time itself.”
“Perched in the soaring West Coast treeline, accessed by pully operated elevator cabs, the Lift Cabins provide the ultimate nature-immersion experience. Ride up as a solo cabin’er or get extra cozy with a +1, enjoy your time way up high, just below the sky!”
“In cold grey concrete and abstract forms, spomeniks are monuments imposed on remote historical sites as the symbol of unity during the socialist Yugoslavia. However, as they became associated with opposing ethnic groups during the 1990s Yugoslav Wars, many were destroyed and vandalized as the prime targets for hate crimes. Today, they are the embodiment of war and violence.
“In cold grey concrete and abstract forms, spomeniks are monuments imposed on remote historical sites as the symbol of unity during socialist Yugoslavia. However, as they became associated with opposing ethnic groups during the 1990s Yugoslav Wars, many were destroyed and vandalized as the prime targets for hate crimes.
“Long, long ago in a galaxy not so far away… there was a place named “Meeting of Cultures” which marked in Sarajevo where the eastern Ottoman empire kissed western Austro-Hungarian. On this historically diverse landmark where nobody is meeting, and among the ruins of Yugoslav Brutalist monument laid like scars to the ethnic division, clouds of simple materials – wood sticks and nails – formed modular polyhedron units. They bonded into seats, tables, movie screens, theatrical platforms… all of which allows for long-lost nostalgic dialogues. Eventually, Urban Sijelo was concieved.
“Urban Sijelo is the materialization of an old Yugoslav concept Sijelo – a social evening gathering featuring traditional music and amusement. The assembly intends to bring people together through endless possibilities in forms, allowing for various leisure communal functions illustrated. The versatile spirit is enabled by multiple 1′ – 6″ polyhedra, the homage to our inspiration K-67 – a modular, spaceship-lookalike kiosk associated with day-to-day memories of the united socialist Yugoslavia.”
“Hsinta Ecological Power Plant really wanted an innovative design to establish its green corporate image. Yet is it possible to design the three chimney stacks that breaks away from the industrial past? How do we deal with this issue honestly while balancing the fact of energy consumption vis-à-vis conservation of wildlife? What if the building’s skin generates wildlife, becoming an interface for social and environmental uses?
“Every year, we build taller buildings. Our cities are becoming taller and taller without taking into consideration the natural surroundings. Our cities become more polluted as they become more crowded. Have you thought about the future? Have you considered our children? They are our future.
“The people of Bosnia & Herzegovina yearn for a sense of unity, once shared by South Slavs during the golden years of late Yugoslavia. The loss of unification in a diverse field of ethnicities, coupled with following years of ravishing war, have instilled an intense feeling of what was now only a nostalgic memory. The government inflicted Spomeniks of the Yugoslav era, now represent the conflicts further perpetrating division and plaguing the Bosnian people.
“Design Image for a Modern house in the Hudson Valley. The perspective drawing shows the easy transparency of the public rooms, fostering an inside-outside connection for the family who will dwell here. The house employs western red cedar, local sandstone, and salvaged oak flooring to lend a rustic feel to the architectural crispness. The soft pencil drawing helps to convey this feeling.”
“This is a drawing of the near future in Hiroshima Hatchobori intersection.
““Civilization has done little for labor except to modify the forms of it’s exploitation” – Eugene V. Debs
“The etymology of a Monsters is to not scare, but rather to show and reveal hidden truths.
“The Woven City – an interlaced architectural landscape with a complex array of structures, materials and textures forming part of a cohesive whole.
“Mercato, Africa’s biggest open-air market located in Ethiopia, is a neighborhood of informalities under the danger of urban erasure by insensitive developer projects. Searching for a solution that can both densify and respect Mercato’s existing social networks, the project looks at architecture through the users’ daily lives and traditions rather than standardized formal methods architects are trained to use and investigates architecture’s potential as a stage that allows creating stories. Through the use of the section cut, the drawing reveals a glimpse of daily lives of Ethiopian women in the project. Nothing is static about the project but the constant dynamism. The section welcomes us to the center with all of the market’s smells, noises and textures, but finds calmness in its architectural expression.”
“Dear Diary,
“Three iconic pieces of modernist architecture, one each of three architects that we might call pillars of modernism, stack upon one another forming a pedestal. Sitting atop rests a piece, studied and acknowledged, yet somehow less celebrated. Eileen Gray’s E-1027 built upon foundations developed by Le Corbusier, Mies Van Der Rohe, and Frank Lloyd Wright, to develop a design that would become coveted by at least one of them. The piece is held together by its own voids, also acting as the glue holding the pedestal intact to further build upon.”
“A Garden Reconsidered explores the notions of divine beginnings/middles/ends and of earthly past(s)/present(s)/future(s) that exist simultaneous, cyclical, and linear. It is an exercise of what might lie behind the facade of divine follies conceived of centuries ago.
“This drawing essentially warns us about what it would mean for a country such as the US to re-elect the ‘unmentionable’ back for president in 2024 — just in case people forgot about him already.”
“The main character in the story is based on a building from hundreds of years ago, the Sendai Mediatheque.
“Boyle Heights is often seen as a separate entity to the overall Downtown Los Angeles area. This separation translates physically by this historic district barriered between Eastern Los Angeles freeways and the LA river. However, part of this barrier renews and keeps Boyle Heights prominent and preserves the present Hispanic Community. But, part of this separation has been slowly deteriorating in certain sections like first street that bridges Boyle Heights with neighboring communities.
“The architecture we know now is created with the elements of the “body” that is the earth. A bird’s nest is just as architectural as any man-made structure, but one is considered “nature” while most man-made architecture is not. Partly this is because much of human architecture is, whether desired or not, harming the body of the earth.
“The cathedral as a cross roads signifies a convergence of the community at large. The plaza opens wide to embrace all that approach. This edifice’s presence symbolizes the community’s strength and beckons all to gather. Its towers reach to the heavens reminding one to embrace the beauty in daily life. The cathedral endures and embodies the community’s past, present, and future.
“Through the interlacing of two distinctly different cities – Downtown Los Angeles and Boyle Heights – the relation of consistent, cyclical geometry provides a moment for distinct views to take place, fragmenting each cityscape into an abstract piece of solid and void that come together as one.”
Hannah Feniak: Congratulations on your success with the One Drawing Challenge! What sparked your interest in entering the competition, and what does this accolade mean to you?
“In March 2021, an Evergreen container ship blocked the Suez Canal waterway for six days. In a scenario in which the ship had never managed to leave the canal, people in need of homes would have brought their lives aboard. While the Egyptian government has been dragging people out of their homes in Warraq and Sinai as development plans move forward, people are forced into poorly planned habitats that pay no real attention to people’s needs or their economic activities.
“This drawing illustrates a forest that has been populated with housing pods made out of mycelium, conceptualizing the utilization of this material in modular architecture.
“Threshold: The focal point of the picture is a human standing on the water’s surface, facing the light (referring to the Truth) diffusing from a cracked wall in an uncanny cave. The philosophy of art and visual arts questioning the “reality” and “illusion” frequently refers to Platon’s “the allegory of Cave”. The picture uses a cave metaphor as well as a “the allegory of uterus” referring to the human’s first home which is conceptualized by the curvilinear forms.
“During its rapid growth in the late 1800s, New York City formed most of its current modern city fabric. As a city of immigrants with its own cultural insecurity, New York borrowed the architectural style of its diverse ancestral European roots in an attempt to create a historic urban context. This European influence, combined with the advancing construction technology and socioeconomic factors of the time, forged a unique architectural environment. Architectural elements of different origin, whether ornamental or functional, were melded into New York’s building facades; architectural manifestation of “insecurity”.
“This drawing imagines an alternate reality and economic reverie where the Great Depression never happened, a need for stripped to the basics skyscrapers averted, and the stylistic impressions of the era continued to roar for decades onward. This depicts a parallel Chicago, devoid of modernist glassy structures. A staggered stone skyline is a hazy backdrop to airships hovering at startlingly low altitudes.
“Depicted is a city that has yet to exist, one where passion, freedom and love fill the towers that rise above, an example of the pleasures art can bring, the idea that like people buildings represent individualism. What is depicted in drawing is a world where art, math and science become the forefront of the built environment and humans are able to liberate themselves from the natural world.
“Stair mazes will always be dynamic structures for the human spatial experience. Humans have the instinct to create infinite space through limited materials so that a certain relationship can be formed between limited life and the infinite universe. Stairs are important elements of a maze — connecting different heights and circulating up and down. The winding pink staircases, the main subject of this drawing, give the building a very large number of possible paths, forming a complex labyrinth.
