手绘草图的那些秘密（手绘轨迹）

Sketch Tabacalera Gijon Competition. Image Courtesy of Rogelio Ruiz Fernández

最佳建筑草图： Rogelio Ruiz Fernández

A Selection of the Best Architecture Sketches: Rogelio Ruiz Fernández

Rogelio Ruiz Fernández是ArchDaily合作伙伴，同时也是建筑师及医生，他目前也是电影、建筑、城市、景观的狂热爱好者。他通过手绘来表达对于视觉艺术、建筑，以及文化的热爱。在这些景象中，他记录旅行、地区、项目，然后这些成为了后来建筑设计的灵感源泉。

在下文之中，Ruiz Fernandez解释了他的创作过程，以及作品中手绘的重要作用。

An active ArchDaily collaborator, architect and doctor Rogelio Ruiz Fernández, has emerged as a great enthusiast of cinema, architecture, cities and landscapes. He expresses his love for visual arts, architecture, and culture through his drawings. In these moments, he documents trips, his favorite locales, and project ideas that will later become works of architecture.

Below, Ruiz Fernandez explains his creative process and the importance of sketches in his work.

Palazzo Farnese Sketch. Image Courtesy of Rogelio Ruiz Fernández

AD：是什么元素激励着你开始手绘？

RRF：周边的环境会指明设计方向、透视线条、光线，以及轨迹。

AD: What inspires you to sketch/draw?

RRF: Environments whispering you directions, perspective lines, light and also traces.

Dinning Room Sketch. Image Courtesy of Rogelio Ruiz Fernández

AD：手绘在创作过程中有多重要呢？

RRF：手绘就是不断探索未来可能性的过程。西班牙哲学家[Jose] Ortega y Gasset曾经说过，“一座哥特教堂就是一座通过幻想而武装的陷阱，用来捕捉到无限可能的猛兽。”因此空间就是这样一匹敏捷的猛兽，我们需要通过快速的方式来驯服它，只要我们能够把它控制住，然后再通过一点一点的驯化，我们就会得到一匹良驹。那么这就是我们所做的驯化过程。

AD: How important is drawing in the process of creation?

RRF: To draw is to choose and evict lines with future possibilities. The Spanish philosopher [Jose] Ortega y Gasset said that 'A gothic cathedral is a trap armored by fantasy to catch the infinite, the swift beast of infiniteness.' So space is that swift beast and we try to manage the lasso, with quick initial sketches, to tame the wild horse, to place the saddle. Once we have the horse in the riding lodges, firmly tied, we brush him sweetly, bit by bit, till we get a thoroughbred. As far as we can, of course... it's the taming of the shrew.

Courtesy of Rogelio Ruiz Fernández

AD：图形参考是否能给你带来灵感？

RRF：我喜欢柯布西耶的钢笔画、RCR的紫色水彩、Don Alejandro de la Sota的Doctor Arce住宅的楼梯、Sverre Fehn的素描，以及[Jorn] Utzon的海上云朵，这些作品让我了解了诸多可能，另外还有Alvaro Siza的图形狂想。

AD: Which graphic references inspire you?

RRF: I love those pointed drawings by Le Corbusier, the purple watercolors by RCR, the stairs in the Doctor Arce house by Don Alejandro de la Sota, the sketches by Sverre Fehn, the clouds over the sea by [Jorn] Utzon which tell us so much with so little, also those graphic deliriums by [Alvaro] Siza (drawing and humming at a time).

Gobierno Civil Tarragona Sketch. Image Courtesy of Rogelio Ruiz Fernández

Valladolid Café Sketch. Image Courtesy of Rogelio Ruiz Fernández

AD：那你一般用什么作画？

RRF：铅笔、彩铅、圆珠笔、钢笔、水彩笔、记号笔等等，只要能用都行。每当我的脑海中闪过某些想法，我就会拿出一张纸将它们记录下来，而这张纸也可以是素描纸，也可以是物品的包装纸，亦或是餐巾纸，这样能够让我随时记录想法。

AD: What do you use to draw?

RRF: Pencil, color pencils, ballpoint pen, pens, watercolors, markers, anything I can find. When something surprises me or an idea comes to my mind... any paper, from good ones to sketch paper, even wrapping paper I find in the studio, or the paper tablecloth that I pull out from under those quick meals, plat du jour, just so I can have something to come back to, to the studio. It's me trying to find that idea that makes us closer to the task of the contest...

FFundación Miró San Barna Sketch. Image Courtesy of Rogelio Ruiz Fernández

Alcazares Sketch. Image Courtesy of Rogelio Ruiz Fernández

AD：你愿意画什么？或者不愿意画什么？为什么？

RRF：意大利就是个无底洞，只要你去那里旅行，每次都能有新收获，比如新村庄，或者是新广场。当你在意大利作画时，你会没有时间概念。也许在另一个时代，你可以在这里度过你的一生。

AD: What would you like to draw and haven't? Why?

RRF: Italy is a bottomless pit, every time you travel, there's a new village to discover, its piazza. When you draw a location in Italy, you lose the notion of time. And, maybe in another life, in another epoch, you could have spent your whole destiny there...