Learning Outcomes

Writing concise introductory/ explanatory text in accessible jargon-free language

Choosing focus areas and style to best represent one’s work

Effective titles

Grammar (syntax and paragraphing)

Layout and font style choices that communicate with the audience

Reviewing text for clarity

Reviewing text for appropriateness of vocabulary

Editing for grammatical correctness and paragraph structure

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Building the Interesting

This freehand assemblage was achieved by first planning the placements of the basic geometric forms and then constructing the subtractions on every form. The placement entails forms of different scales to create a balanced composition like the small cylinder accompanying a quadruple-sized prism on top. An important point kept in mind was to avoid any illusions that would result in an unclear representation of the form. This meant averting coincidence of two points or lines of different solids by playing with their scales like the cuboid on the bottom left is scaled down to avoid confusion with the adjacent prism.

The solids are closely packed since the idea is to create a composition and not to focus on individual objects. The key was to be mindful of balancing the scale and spaces between two adjacent solids. With the outlines of objects in place, a mass from each solid was to be subtracted. These subtractions are measured and not random so they can be made into models in future. They are guided by the finite halves or fourths like in the cylinders in the centre.

This cluster of subtracted solids was an ideation of scaled down life-sized, atypical buildings that lacked symmetry and alignment, yet created a visual equilibrium with the balanced negative spaces like in the centre. U21032

Building the Interesting

This freehand assemblage was achieved by first planning the placements of the basic geometric forms and then constructing the subtractions on every form. The placement entails forms of different scales to create a balanced composition like the small cylinder accompanying a quadruple-sized prism on top. An important point kept in mind was to avoid any illusions that would result in an unclear representation of the form. This meant averting coincidence of two points or lines of different solids by playing with their scales like the cuboid on the bottom left is scaled down to avoid confusion with the adjacent prism.

The solids are closely packed since the idea is to create a composition and not to focus on individual objects. The key was to be mindful of balancing the scale and spaces between two adjacent solids. With the outlines of objects in place, a mass from each solid was to be subtracted. These subtractions are measured and not random so they can be made into models in future. They are guided by the finite halves or fourths like in the cylinders in the centre.

This cluster of subtracted solids was an ideation of scaled down life-sized, atypical buildings that lacked symmetry and alignment, yet created a visual equilibrium with the balanced negative spaces like in the centre.

U6 U21011 C2.1 D2

Speck-tacular

Stippling

This composition of overlapping cut-out solids tries to represent a sense of balance and gravity which can be achieved through different gradients of shading (rendering), aiding in depth perception of these forms.

The technique seen in this sheet is known as stippling, and has only used dots in varying densities to create the effect of the presence of a light source placed directly above the composition. As seen in the cube at the bottom left of the picture, three adjacent surfaces are of visibly different degrees. Its right face is of higher dot density, indicating an absence of light, in comparison to the top face.

The beauty of this time-consuming procedure lies in its uniformity and simplicity- a basic one-dimensional element like a dot can give a planar drawing a threedimensional effect. This small-scale composition took eight hours of constant moving of the wrist monotonously, allowing one to develop patience, an essential virtue in the long run. U21011

A Diff erent Perspective: Marionette Assemblage

The composition comprises of 30 individual solids which include cuboids, prisms, pyramids, cones and cylinders. Each of these solids has one or more portions removed from them, creating interesting solids . The entire composition has been drawn freehand, where pencil was used to construct the solid and micron pen to highlight the final shape, for clear distinction. These modified solids are then arranged in a two-point perspective , in which the lines that depict depth and decide the orientation of the solids, seem to converge at 2 imaginary points called vanishing points, giving it its title making a reference to string puppetry.The solids have been consciously arranged facing different directions to highlight depth in different orientations. The arrangement has also been mindfully made denser in the periphery of the central prism , capturing the viewer’s focus. Making this composition freehand helped me visualize 3d environments better and would help me depict ideas to my audience in a manner that they can immediately relate with as we see everything in perspective in real life situations

Transformation of 2D to 3D

Understanding the dimensions of a 3d object and making its blue-print on a3 size paper to make a mold.

The model of the cylinder which has been cut in it as shown in the front view is made and the plan is made using guidelines and data available. Making left side elevation Using front elevation and plan. Achieving true lines in plan view then combining both front elevation and plan left elevation is built.

For surface development of subtracted cylinder the dimensions from plan and elevations are used and placed according to the space. There are multiple ways to construct a blueprint of it but to t it in the sheet this is best one can achieve. The small labels are for understanding which parts will be connected where. The understanding of dimensions and preview of the object in head is important. U21005

U21100

The Digital Perspective

Perspective projection is a drawing method used to depict three dimensional objects on a two dimensional surface. The object projection is represented from a particular viewpoint and the set of parallel lines converge at a certain point called the vanishing point ( titled LVP and RVP)

The bottom half of the sheet displays the 3D composition. Differently colored solids in the composition have been shown using different colours. The selection of a bright fluorescent green as seen has been done so that the base of the

composition is clearly identifiable.

On observation, the clever use of the dashed coloured lines will be visible

throughout the sheet. These lines help to convey if a certain solid edge is hidden subtractions break the monotony of having

from the viewer. simple plain solid compositions.

It can be observed that the solids in the

composition have certain subtractions. The subtractions have been made to understand its Technological knowledge and a clear understanding of the concept are key to this work. The use of a digital medium shifts the attention from quality of lines to quality of composition and understanding of the concept.

The composition is visually balanced with larger forms in the back and smaller ones at the front. The precise proportions and the smooth line quality of the edges are clearly visible due to the use of a 0.3 mm pen. It has abstract versions of elements from history, and the possible future. From the cone looking like a medieval Chinese helmet1, to the cylinder looking like a futuristic transport capsule akin to the one in the movie The Polar Express2. From the pyramid in the back looking like an ancient mythical temple3, to the cuboids in the right looking like gizmos from a sci-fi movie4. The wireframes resemble the steel framework of modern buildings5 .

Everything seen here has been drawn without using a ruler. The vital skill of freehand drawing learnt in this exercise enables an architect to make quick, neat and nearly perfect sketches without using precision instruments.

1 2 3 4 5 U21290

Fragments of Time

The composition is visually balanced with larger forms in the back and smaller ones at the front. The precise proportions and the smooth line quality of the edges are clearly visible due to the use of a 0.3 mm pen. It has abstract versions of elements from history, and the possible future. From the cone looking like a medieval Chinese helmet1, to the cylinder looking like a futuristic transport capsule akin to the one in the movie The Polar Express2. From the pyramid in the back looking like an ancient mythical temple3, to the cuboids in the right looking like gizmos from a sci-fi movie4. The wireframes resemble the steel framework of modern buildings5 .

Everything seen here has been drawn without using a ruler. The vital skill of freehand drawing learnt in this exercise enables an architect to make quick, neat and nearly perfect sketches without using precision instruments.

Con(e)struction

Displayed here is a handmade model of a cone. Its creation involves drawing, cutting and putting together a net.

Using drafting tools, a skeletal net was first constructed in pencil. Each part has been measured to an accuracy of 0.01cm. The curved surface has been drawn as a circular sector with 24 divisions for easier construction.

This exercise has been helpful in training the mind to visualise and predict the product from a net drawing, which in turn helps in understanding the process of creating solids, enabling one to do it themself. This aids in learning how a design professional can physically execute their ideas.

The drawing attained a three dimensional form after being cut with a blade. The lines dividing the sector were also cut halfway through to make the folding process smoother. White adhesive was used to unite the parts, resulting in the solid seen here. Its existence inherently verifies that the initial construction drawing was correct and accurate.

U21027 U21027

Gauged Plan of Bedroom

The plan shows the gauged plan of a bedroom of 352 by 354 CM. The whole bedroom measurements are taken by hand. The drawing is made on a scale of 1:30 so the scale will change as per measurements of that place changes. The drawing is made on gauged dimensions and the actual dimension is written in brackets.

In these drawings some difficult measurements have to be gauged because the width of the L shaped wall on the left side was not reachable to measure so the width of the wall is gauged. The correct and neat dimension labeling of furniture provides the idea of the interior of the bedroom. The plan also required technical knowledge like designing the furniture as per that person’s everyday activity in that area. The plan also shows knowledge of the architectural symbolic function of each furniture to easily identify that particular furniture. In the first line all furniture dimensions are written after that building element’s dimensions are written.

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Along the Street

The sheet on the left represents a cross section ( a 2 dimensional representation exposing the surfaces, when a cut is made through an object) of the road with the crucial components present on it along the paved street. A 2 dimensional diagram does not have depth, and hence line weights are used to give a better understanding of depth. Only the critical dimensions (maximum widths,minimum heights) are mentioned, at the peripheral area of the sheet, following a specific convention. When scaled down to such a small size some elements may become unreadable and go unnoticed, hence are highlighted using colors such as green for trees, yellow for lights, ochre for earth, grey for roads and reds for lights which makes the sheet pop out from all.

Buildings are represented at the extremes to show the limit of the road and the margin between them and the road.

This develops the understanding of gauging sizes, comparative proportion and drawing it down to a smaller scale and one learns about the crucial interrelations between the specific sizes of the specific object (the relation between sizes of the vehicles,their dedicated lanes, their heights, and the heights of signages/signals) which helps while planning anything similar. U21201

U21197

50 SHADES OF RENDERING

The composition is a collection of various forms with subtractions. The arrangement creates a negative space at the center of the page, effectively separating the two compositions. It also lets us see all the sides and subtractions with ease. The composition on the left has been rendered with a 2b pencil using regular rendering, while that on the right has been rendered with a 0.8-micron pen using stippling, which involves creating various tonal values with a cluster of dots. The different mediums show how different techniques yield favorable results. The numerous tonal values create the illusion of an existent edge without having to draw a visible line. Instead of using a fixed light source, as would be done in rendering, only three consistent tonal values have been used. While this may seem technically incorrect, it creates a cohesive composition without directly jumping into the techniques of shading, as the main idea was to create threedimensional forms without drawing the edges, rather than creating a work of art.

Rushing Through The

Galaxy

When we have our first glance at

this piece of art we get a feeling

of travelling through the

asteroid belt because of the

randomness in which objects

are placed and the elongated

structures give an effect of

travelling with supersonic speed

into the vanishing point. Just the

difference is that here the

asteroids have been given a specific form with some

kind of subtraction to get a sense of 3 dimensions in The linear wire running through various forms on the

single point perspective. Approximately 30 right and lower side gives us an idea of the relative

subtracted solids of 8 different forms have been used position of the objects, otherwise they would look like

to make it balanced and diverse. All of it has been individual pieces floating with a lesser sense of depth.

done freehand with a black pen on A3 sheet. U21132

U21235

COMPOSING CUBES

UG21183

THE INDIAN STREET CUT

The drawing portrays the character of an urban Indian street section.

Using feet as a guide for measurement, the width of the road has been estimated and using the height of an average human being as reference, the height of poles has been estimated. Then the actual dimensions are measured to compare the both. This method aids in developing better instincts when attempting to quickly assess a

THE INDIAN STREET CUT

The drawing portrays the character of an urban Indian street section.

Using feet as a guide for measurement, the width of the road has been estimated and using the height of an average human being as reference, the height of poles has been estimated. Then the actual dimensions are measured to compare the both. This method aids in developing better instincts when attempting to quickly assess a location or room for size.With these measurements and the scale being 1:75 ratio, all the elements of the street fit the sheet precisely. Crisp lines with various intensities are used to show the distance away from the section cut using a mechanical pencil. A darker line is drawn to depict the road section. The vehicles, humans and trees that are farther away are drawn lighter, this shows the positions of all the elements in the street.

U21139

location or room for size.With these measurements and the scale being 1:75 ratio, all the elements of the street fit the sheet precisely. Crisp lines with various intensities are used to show the distance away from the section cut using a mechanical pencil. A darker line is drawn to depict the road section. The vehicles, humans and trees that are farther away are drawn lighter, this shows the positions of all the elements in the street.

Chopping Matchboxes Off!

Instead of thinking outside the box, how about chopping that box off? Here a composition of three matchboxes is digitally drafted. This was created to understand how numerous components around us are analogous to these boxes, where everything is made up of smaller, simpler forms with subtractions.

Each matchbox has a single form chopped off within it. Three distinct colors, namely red, blue and green are used to depict the matchboxes. The draft on the bottom center depicts the plan of the boxes. The plan later is used as a reference to draft each of the left, front and right elevations. Moreover, an isometric bird’s eye view and an oblique worm’s eye view of the same composition are drafted on the left and right bottom respectively.

For a designer, this simple practice opens up the possibilities for creation of undiscovered forms, spaces and products.

Instead of thinking outside the box, how about chopping that box off? Here a composition of three matchboxes is digitally drafted. This was created to understand how numerous components around us are analogous to these boxes, where everything is made up of smaller, simpler forms with subtractions.

Each matchbox has a single form chopped off within it. Three distinct colors, namely red, blue and green are used to depict the matchboxes. The draft on the bottom center depicts the plan of the boxes. The plan later is used as a reference to draft each of the left, front and right elevations. Moreover, an isometric bird’s eye view and an oblique worm’s eye view of the same composition are drafted on the left and right bottom respectively.

For a designer, this simple practice opens up the possibilities for creation of undiscovered forms, spaces and products.

U21020 U21020

Building A Form

The model depicts a form which is derived by removing parts from a basic cube. It has a stairway-like structure with three steps. There is a diagonal section at the bottom that appears as if a prism was cut out from it. The model was made by the process of cutting and folding the layout displayed on the right of the given sheet on grey card paper. It also shows different views of the final form on the left as we can also perceive in the model. All the dimensions on the model are 1.5 times of the dimensions displayed on the sheet. The continuous lines show the full cuts whereas the dashed lines depict folds. The whole idea of developing a surface from 2D to a 3D form is to develop an understanding of structures. One also learns the essential skill of expressing visual ideas effectively through the technique of model-making.

U21065

The Immersive 3D Universe

An illusion of 3D created on a flat sheet of paper by pulling all the forms to a single point creates this visually-fascinating assemblage. The solids are nothing but basic cubes, cylinders, cones, prisms and pyramids with subtractions.

The massive 3D planes intertwined with tiny forms create a sense of hierarchy and depth. A sense of gradation is created as closely bound solids scatter in an outward direction. Effective management of space defines this collection of forms as a ‘composition’ with a sense of belonging.

There are various visually interesting pieces in the composition like the curvy plane surface with a penetrating cone and cylinder. On the left behind the cuboid is a solid impersonating a door attached to a stairway. As the eyes move inside the whole composition through the forms bound together, it puts into perspective a 3D universe creating a blend that's visually put together for the viewer.

U21065

Fun with Geometry

This composition of 26 freehand geometric solid shapes is made by placing five different forms at different places, arranged one after the other on the ground and not floating in the air, all the subtracted solids are plotted from a 30-degree angle in the whole sheet. One can see clear wedges and slits constructed at different positions in the cylinders, also many tall solids depicting high-rise buildings which are made by cubes, cuboids, and pyramids. Wireframes are there in order to show structure strength. A closer look at the sheet looks like it is describing any developing city, which includes multi storey buildings. The arrangement of solids in the circumferences ofthe central prism is also carefully solidified which creates a void in the center and draws one’s eyes towards it. Assemblage was to create unique forms and to organize them in a classically polished manner. U21038

PYRAMIDS:THPYRAMIDS:THE E INSIDEINSIDE OUTOUT

This work showcases the possible subtractions in a pyramid from every corner to get an understanding of what is actually

inside a 3-dimensional form.

This attempt of subtracting the parts from a pyramid provides a whole different perspective because each and every corner was expected to be constructed and made, none of the corners could be made on prediction, and because they were to be constructed freehand using predictive measurements and spacing it demanded a great sense of accuracy, be it making equal angles on either sides to composing six pyramids of equal size on one sheet.

PREDICTIVE SPACING CONSTRUCTION LINES

To easily study the form inside out, layering is what is used in making these pyramids. From drawing a cube as a reference with a lighter medium to constructing a whole pyramid with subtractions with micron inside that cube is how every step is showing the construction method.

U21051

U21290

PLAN OF A PLANNED ROOM

The image shows the plan and front elevation of the kitchen.This plan allows anyone not familiar with the space, to get a sense of the placement of the kitchen platform, shelves, windows, and also about the placement of moveable things like a stove. Below the plan, a detailed elevation of the platform is drawn revealing the dimensions of under the platform shelves and vertical dimensions Creating a flat plan of virtual space was like putting the entire kitchen together on a piece of paper. Gauged as well as precise measurements were taken of an entire wall to a small piece of furniture before putting it down. Effective use of handspan and foot was done to gauge. The actual measurements and the gauged measurements in the bracket are written parallel to the orientation of the surface. To put an emphasis on the walls and differentiate them from the spacing of the room, they are hatched as shown in the image. The walls act as an boundary and make the sheet look well-composed.

U21119

Scrutinizing The 3 Dimensional W

Scrutinizing The 3 Dimensional W

A digitally drafted composition is exhibited, showcasing dissimilar elevations of the model when seen from the top, right, left and front along with its three-dimensional delineations. These drawings are visualized and inked on the sheet via three contrasting colors, viz. red, blue and green to demarcate the boxes.

Designed using Autocad at 1:1 scale, i.e., retaining the actual dimensions of the matchbox composition, an explicit portion is withdrawn from each of the boxes. For instance, the blue cuboid is cut diagonally, imparting it a sloping surface. Vivid line types and intensities corroborate the lucidity of comprehending the draft by depicting the construction lines by thin gray lines whereas the visible and hidden edges through continuous and dashed lines respectively.

The three-dimensional drawings on the left and right bottom of the sheet represent the views of the composition when seen from above and below respectively, further scrutinizing its form.

U21020

nal World! onal World!

A digitally drafted composition is exhibited, showcasing dissimilar elevations of the model when seen from the top, right, left and front along with its three-dimensional delineA digitally draftedations. comp Theseositiondrawings areis exhibited, visualized andshowcasiinknged on thedissimilasheet via threer elevations of the model when contrasting coloseen from rs, viz. red, blue and grthe top, right, left andeen tofront along with its demarcatethree-the boxes.dimensional delineations. These drawings are visualized and inked on the sheet via three Designed using Autocad at contrasting colors, v 1:1 scaiz. red, le, i.eblue., retainingand green to the actual dimensiondemarcate the s of theboxes. matchbox composition, an explicit portion is withdrawn from each of the boxes. For instance, the blue cuboid is cut diagonally, imparting it Desig a sloping surface. Vivid line types ned using Autocad at 1:1 scale, and i.e., retaining intensitithe es corr actual oborate the dimensionlucidity of comprehending s of the matchbox composition, the drafant by depictingexplicit portithe con isonstructionwithdrawnlines by thinfrom each of the gray lines whereas the visible aboxes. For instance, thend hidden edgeblue cuboid isscut diagonally, through continuimparting ousit a and dassloping hedsurflinesace. respectively. Vivid line types and intensities corroborate the lucidity of comprehending The three-dimenthe draft bysional drawingsdepicting the coon the leftnstructionandlines by thin right bottom of tgray lineshe sheet rwhereas epresent the viethe visible andws of thehidden edges composition whenthrough contseen from above and belowinuous and dashed lines respectively. respectively, further scrutinizing its form.

The three-dimensional drawings on the left and right bottom of the sheet represent the views of the composition when seen from above and below respectively, further scrutinizing its form.

Enigma of Surfaces

On the left, the

plan

(top view), the

front

, and the left elevation (front and labeled points by a tech left views) are drawn nical process known with as projection, in which lines are drawn from every point on the plan to the baseline and heights are added to get the elevations. This method assures that all of the points appear at the same location and distance from outer surfaces are one other as indicated by in the bolde plan. r line The and points that are not visible or are behind an existing point are enclosed in parenthesis.

Surface development is depicted on the right side, in which reassembling, surfaces are laid in they form the subt 2D rac and on ted cylinder (a cylinder from which mass is removed).The edges that will be glued together have the same label and The edges that will be cut are depicted with bolder lines than those that will be folded.

Drafting (drawing precisely using special tools), projecting plans and elevations and comprehending the representation of a 3D solid as a collection of 2D surfaces are among the skills learned while creating this drawing, which serves as a communication tool between the designer and the manufacturer, conveying the concept of a design clearly and concisely.

U21160

GAUGED PLAN OF A KITCHEN

The sheet represents the plan or top view of a kitchen of an apartment. It has the accurate and critical dimensions of the elements of the kitchen for its making. The main point of this exercise was to gauge or estimate the size of the kitchen and its objects using the measurements of one’s body.

The initial plan was to note down the essential body measurements and using that, gauge the dimensions of the kitchen elements. Then accordingly, the plan was made on a scale of 1:20 which represented that every 20 centimeters in actual was drawn as 1 centimeter in the plan. The tool used to make the plan was a simple HB clutch pencil. Every detail was captured and the dotted line was to show the plan was being viewed from a height of 150 centimeters as it is taken as standard.

We learned the way designers represent their design, according to which the actual product is made, and also how one can estimate the dimensions of certain elements just by using one’s body.

U21079

Light and shadow create the required differentiation between the tones of an object. The given compositions are rendered with pencil and micron respectively to show how light will fall on a solid when some of its part is subtracted out. The composition is started with placing the subtracted solids around each other in a way that enhances the feeling of unity and harmony amongst them. Here the light mizzles through the top left defining the gradients of each surface: the lightest surface depicts light directly falling on it and the darkest tone displays the absence of light. The silhouette of these solids against the bright white background make it seem to pop off the page. This composition helps one achieve different shades using a single pencil/micron which would also help one professionally to give depth and a sense of realism to a drawing.

L I G H T S , C A M E R A , R E N D E R

T h e s e f i v e - f o r m s u b t r a c t e d c o m p o s i t i o n s h a v e t h e i r l i g h t s o u r c e o n t o p r i g h t o f t h e p a g e . S o m e o f t h e i r s a l i e n t f e a t u r e s a r e t h e p l a y o f l i g h t a n d s h a d o w , w i t h t h e g r a d i e n t e f f e c t c r e a t e d .

T h e c o m p o s i t i o n o n t h e r i g h t h a s b e e n r e n d e r e d u s i n g a p e n c i l t e c h n i q u e c a l l e d s q u i g g l i n g , w h i c h h a s b e e n d o n e l i n e b y l i n e t o g r a d u a l l y a d j u s t t h e i n t e n s i t y a n d s p a c i n g , e s p e c i a l l y i n t h e c o n e , a c u r v e d s u r f a c e . T h e m o s t a c c u r a t e s e n s e o f l i g h t s o u r c e i s s e e n i n t h e h o r i z o n t a l c y l i n d e r .

T h e r e n d e r i n g o n t h e l e f t i s m a d e u s i n g a p e n t e c h n i q u e c a l l e d b r o k e n c o n t r a s t i n g l i n e s . T h e c o n t r a s t i s m a d e n o t i c e a b l e b y v a r y i n g t h e l i n e s p a c i n g a n d t h e n u m b e r o f c o n s e c u t i v e l i n e s i n e a c h s e t . A l i t t l e b i t o f o v e r l a p p i n g a t t h e e d g e s , a s s e e n i n t h e v e r t i c a l c y l i n d e r , h e l p s i n d e f i n i n g t h e m b e t t e r , g i v i n g u s a s e n s e o f s h a d o w s a g a i n s t t h e l i g h t s o u r c e .

U 2 1 1 1 6 U21211

U21116

Technically Viewed

This drawing includes 6 different views of the matchbox composition. The composition consists of 3 matchboxes of the same size having different colorsred, green, and blue marked using respective inks for easy i id de en nt ti ification. The dotted lines reveal the edges that are not visible in the particular view. On the bottom center is the top view/plan of the composition from which different lines have been extended/ projected to draw various elevations that are visible at the top. The projections lines are light to not let it overpower itself. T Th he e thick black line beneath every elevation represents the ground plane. The bottom left and right of the sheet depicts an isometric bird’s and worm’s eye view respectively wherein the principal dimensions are true and the o ob bj je ec ct ts s aren't distorted. These views aid in visually understanding the composition better. Therefore, this particular drawing drafted with utmost precision helps convey information regarding its construction.

160

E4Among Peers and Clients

E4.1Informal Emails Among Peers and Clients

164

E4.1 | Informal Emails

Most of the reading and writing we have done so far has focused on seeing writing as a means of learning – of synthesizing information and knowledge and using it to articulate logical connections in a way that helps the intended reader – and also as a means of using words to accompany our work, in a process of reflection and also guiding an audience’s way of relating to it. Emails (and letters, should you ever need to write one) fall more clearly into what is usually called ‘communication’, whether it be professional or otherwise.

This particular exercise focuses on writing informal letters and emails for a general readership. In your professional life you will come across many opportunities to talk about your work not just in a formal capacity but also informally, to your work acquaintances and collaborators from various fields. One thing that we often forget as professionals is that not everyone knows what we are talking about. The most obvious aspects of our work, things that we take for granted, are sometimes completely alien and new for the people from different fields that we are working with.

With this exercise you will learn to communicate complex elements of your work in an informal tone and register, and in the process also learn to listen for and identify the tone and register a specific piece of communication uses.

But letters and emails needn’t be just that. Denisse Scott Brown writes to a young architect, musing on strawberries, potatoes and logical patterns in designing buildings, architects and architecture critics use the familiarity of the letter form to speak directly to their audiences about issues that may otherwise remain remote. Her letter appears in The Architectural Review, making its way to other young architects, along with letters written by a range of other well known architects. Clearly there is more to emails and letters than meets the eye, and the opportunities to use what you learn now will not be limited.