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building images). More essential: these are perspective-sections, with what is seen beyond the cut line(s) providing so much to the understanding of the
building depicted. It might have been pointed out that sections need not include this added information---though it is typical for a section to include, in
elevation, that which occurs beyond.
Less surprising is the excess verbiage presented---by the authors, apparently, and repeated by the writer---in explanation of the purpose, the uses, of the
section drawing. Isn't it simply a tool in the arsenal of the designer with which to convey to others both the spacial realities of his structure and (in some
degree) the way the building is constructed ? Must that be embellished with philosophical ramblings about the "meaning" of that tool ?
Off-putting is the use of the word "section" without its article---starting with the book's title---leaving one thinking that Section is a way of life, or a religion,
rather than a particular sort of drawing. I am reminded of an old Ford ad: perky soccer mom telling the camera, "I like that WindstarÃ‚Â® keeps my family
In any event, it's great that the publishers of the article have made enlargement of the selected drawings easily available to the online reader.
Particularly, liked the thoughts around the word 'Section'.
Couldn't put my finger on it.
I think you're on to something with the religious association.
Like the Windstar ad. It makes Windstar sound like a being who cares for us.
"Manual of Section" imparts an inflated authority ... little bit artificial:
something that religion is always vulnerable to.
https://www.archdaily.com/873261/a-sele ... um=gallery
The section/elevation, with its article, is an architectural device that informs the design in ways a simple floor plan cannot; the section in perspective is a presentation drawing that allows the non-architect client to understand what's going on, a sort of perspective presentation that has been sliced open, showing mom setting the table, dad smoking his pipe and reading the paper, and tykes playing with their dolls and trucks.
A. Quincy Jones (with his own article to differentiate himself from the musician) drew wonderful sections.