What They Do Not Teach You in Architecture Schools| Interview with Eric Reinholdt

Welcome to another episode of my podcast!

Meaningful conversations with architects, artists, and designers.

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Meet my today’s guest — Eric Reinholdt from the most popular architecture-focused YouTube channel with over 1 mln subscribers: 30X40 Design Workshop

Things always change and evolve in architecture…

Join us in this interview, where we delve into crucial topics for architects, such as why incorporating sketching into your design practice is vital, the role of an Architect in 2023, insights into the business for creative minds, and archipreneurship.

Eric also shares his 6-step process for working on a project and recommends books for aspiring architects.

“Sketching is a part of my process, I use it from the very early stages: from site visits, all the way through construction. Standing on a job site with contractors trying to work out a detail in the field, if you can’t sketch out what you are thinking — you are less respected on the site… I’ll just put it that way.”

— Eric Reinholdt

ABOUT ERIC:

Eric is an award-winning architect, entrepreneur and founder of 30X40 Design Workshop, a design studio located on Mount Desert Island, Maine. He is also author of the ”Architect + Entrepreneur” book series and creator of the most popular architecture-focused YouTube channel online. He has been designing simple, modern residential architecture for more than 27 years and a practitioner of all the novel, entrepreneurial business strategies he teaches in his courses.

QUESTIONS WE DISCUSSED IN THIS INTERVIEW:

(1) If we were to distill the essence of those 10 years in a blender, what key elements do you believe defined your success?

(2) What is your definition of being an architect in 2023?

(3) There is a saying “Hands are the wings of the heart”. How important do you believe sketching is in the life of a contemporary architect: from initial concepts to the completion of projects? Do you think digital production methods will ever replace hand-drawn sketches? Please more on alchemy that transforms initial ideas into finished projects.

(4) Eric, as far as I got from your videos, it appears your work routine on an architecture project is a systematic 6-step process, involving:

• hand sketching, 

• *detailed sketching on an iPad, 

• layouts in AutoCAD, 

• a 3D model in SketchUp, 

• fine-tuning in Photoshop, 

• and a paper model. 

Is this an accurate representation of your creative workflow, or do you incorporate any other tools/software, or steps?

(5) Eric, for aspiring architects, if you could recommend three books that have significantly influenced your perspective and growth in the field, what would they be?

(6) Your book 'Architect + Entrepreneur' encourages readers to 'think big, start small, and learn fast,' emphasizing personal brand creation over traditional business plans. 

In parallel, your online course, ‘A + E,’ seems like a comprehensive resource. Can you elaborate on whether this course encapsulates your professional life experience, providing a structured shortcut for others to achieve what you've accomplished?

(7) Looking ahead, what's on the horizon for you? Are there plans to expand your team significantly, and do you envision taking your teaching to in-person workshops or perhaps teaching at the university level, sharing the insights from your books and online courses? Can you please lift the veil for us?

RESOURCES MENTIONED IN THE VIDEO:

Books Eric talked about:

• “Thinking Architecture” by Peter Zumtor: link

• “The 4-Hour Work Week” by Tim Ferris: link

• “As Little Design as Possible” by Dieter Rams: link

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Watch also Eric’s short film about being an architect

“A Choice to Make”:

LEARN MORE FROM ERIC:

• Book “Architect+Entrepreneur: A Field Guide to Building, Branding, and Marketing Your Startup Design Business”: link

• Course “Architect+Entrepreneur”: link

• Tools and templates: link

CONNECT:

Eric’s blog on all things architecture: link

Podcast on financial independence “2 Sides of FI”: link

Instagram: @30by40

Interview by Olga Sorokina

Instagram @schoolofsketching

P. S. Please share this interview with someone who might need to watch it.

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Interview #9 with Dalibor Dzurilla, an expert in creating visual presentations for architects

Welcome to another interview from my podcast!

Meaningful conversations with architects, artists, and designers.

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How to work smart on your architecture projects (VISUAL PRESENTATIONS)

Meet my today’s guest — Dalibor Dzurilla.

Dalibor explores, optimizes, and teaches architects how to create visual presentations effectively & sustainably. For this mission, he co-founded the project "VISUIN" ten years ago. On his Instagram, he describes what he does as “Institute of Effective Representation of Architecture for Architects. Save time, money, and your future you.“

Dalibor has won several architectural competitions so he knows what good architecture is. He worked with projects of different scales and now teaches architects how to present their projects and how to work with technology.

Dalibor accredited the study program about presentation at ARCHIP school in Prague. Currently, he is working on research for his Ph.D. about digital sketching as a communication tool for architects.

Couple of questions I asked Dalibor in this episode:

• Can you do a good sketch for a bad architecture project?

• Digital or analog?

• Morpholio? Procreate? Concepts?

• Which app is the best for architects?

• When can you say that the architecture project is done?

• How to become a better architect?

The resource we’ve mentioned in this episode:

“5 deadly sins in architectural portfolio”: here

Dalibor’s website: here

Dalibor on Instagram: here

Interview with Dalibor Dzurilla by Olga Sorokina.

P. S. Please share this interview with someone you know will benefit from it. Thanks in advance!

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Interview #8 with Liz Steel, a non-stop urban sketcher from Sydney

Palladian villas, obsessive sketching, ‘2 sketchbook strategy’, tips on drawing on location, and so much more — all in this igniting interview with our today’s guest, Liz Steel. So brew yourself a nice cup of tea/coffee/cacao now and enjoy.

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Liz describes herself as an obsessive sketcher who is documenting the narrative of her life while blogging this journey along the way.

She worked as an architect, but her life brought her towards a sketch teacher career. By now, our guest has been teaching sketching on location, while traveling, and blogging her adventures for more than 10 years.

Currently, Liz has in her collection around 270 sketchbooks, which grow at a pace of apps 20 sketchbooks a year. Her art, and her teaching, are all about capturing the moment, sketching now, being in the present, and enjoying the process along the way.

In this interview, we are talking architectural design sketching with a rebellious twist, composing pages in a sketchbook, and about those beautiful conversations that are happening when you sketch on location. 

“I sketch my life and share the adventure.”

— Liz Steel

Liz’s sketch of Palladian villa

Here are a couple of other topics we have touched upon:

• How to fit sketching into your daily routine

• What to answer if someone is criticizing your drawing

• An incredibly efficient technique of indexing your sketchbooks.

• Must-read books and essays on architecture 

…And of cause, you will learn more about those fancy iconic teacups sketches you might probably have seen on Liz’s Instagram. 

“A sketch is an art form in itself.”

— Liz Steel

Here are some of the questions we’ve covered:

1. Could you please tell us who Liz Steel is? What's the story behind what you do?

2. Please tell us about your 2 sketchbook strategies.

3. How do you index your sketchbooks?

4. Let's talk Palladio. Could you please tell us about your projects on that topic? Sketchbooks, blog articles on Palladian villas, live workshops, I know you do them quite regularly in Europe, for example Palladian Odyssey which is used to be in May/June.

5. Liz, please tell us about your new course — Sketchbook Design

6. What one piece of advice would you give beginners in watercolor and newbies at sketching on location?

Please let us know in the comments below what was your biggest takeaway from this Zoom chat.

Also, if you have any questions, do not hesitate to write them down below to address them in my following interview with Liz.

Liz on Instagram: here

Links to Liz’s online courses: here

Liz’s blog: here

Interview with Liz Steel by Olga Sorokina.

P. S. Please share this inspiring interview with your creative friends, they will be glad you did. Thanks in advance!

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Interview #6 with David Drazil, sketcher and architect from the Czech Republic

David's Instagram: david_drazil

David’s website: sketchlikeanarchitect.com

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1. Olga Sorokina (O. S.): David, could you please tell us how did you come to architecture and what was your initial step in hand rendering? 

David Drazil (D. D.): First time I started thinking about studying architecture was in high school, in art lessons, where we were taught how to draw perspective for the first time. I think I was around 15 years old at that time. We learned how to draw 1-point and 2-point perspective with an urban theme - typical street view and corner view. I remember being so amazed by that, can't really explain why, but I fell in love with that process. So since then I was pursuing architecture path which eventually led me to studying architecture at the Czech Technical University in Prague. Right at the CTU I was given proper basics of architectural sketching which strongly influenced and shaped how I sketch today.

“Free-hand sketching brings so much more freedom to both sketching process and the dialogue that evolves from it”

2. O. S.: Your style is very bold and recognisable: black and white, freehand lines, no rulers. Could you please tell us about media you use and how it affects your approach if it does.

D. D.: Yes, I really prefer not to use rulers, because free-hand sketching brings so much more freedom to both sketching process and the dialogue that evolves from it. I perceive sketching as a means of communication more than anything else. And free-hand sketching with wavy imperfect lines leaves a lot of space for opening a creative dialogue - either between colleagues or an architect and a client. The imperfections suggest that nothing's set in stone and that everybody is welcome to contribute with their own inputs.

As for media that I use, it's usually Staedtler Pigment Liners in thicknesses from 0.05 - 0.8 mm and if I go for colour, then colour markers TOUCH.

3. O. S.: Could you please describe your process of creating sketches (and how long does it take), for example this one:

D. D.: The process differs according to the type of sketch. There are many types, most of them are for communicating ideas, but some process sketches are simply for brainstorming, trying to understand a problem and come up with a solution, or for further shaping and verifying ideas that emerge on the way.

“I begin either with a pencil or a pen to create a visual structure and set the right scale”

If we talk about presentation sketches like this one (took about 40 min), I like to start with a thumbnail sketch where I first try to find the best composition in terms of relations between different elements and positioning on a canvas. Depending on complexity, I begin either with a pencil or a pen to create a visual structure and set the right scale. Then I use pens with lighter line weight to build up the main volumes and work with different depth planes. I continue with texturing and shading, adding more of surroundings and details. Final touches might include line work with heavier line weight for emphasis and contrast or optionally use of colour.

4. O. S.: How do you structure your workday or your workweek?

D. D.: Right now I work full time as an architect in Copenhagen so my main schedule is determined by that. But usually I get up earlier to sketch or plan and structure the goals for the day/week. I'm still finding my way around juggling with more balls at the same time as I have some smaller projects and collaborations on the side. Ideally I try to plan these things in advance every weekend for the coming week, but it doesn't always work out ;) I'm also more of an evening person, so I find myself with sudden energy around 7 or 8 pm, so that's when I'm actually most productive about these things.

5. O. S.: David, please tell us about your sources of inspiration. What helps you to be productive?

D. D.: As for sources of inspiration, I believe that architects shouldn't get inspired by another architecture - that's very limiting. Don't get me wrong, it's important to do recherche and moodboards with reference pictures, but that's not inspiration in true sense. In regards to this, there is one quote from architect Edmund Bacon, which really resonates with me. He says: "It's in the doing that the idea comes." It really does work like that for me - I get ideas during the process, very often as I sketch, because there are no barriers as with using a software on a computer. The connection between your mind and your hand is very natural and it supports all the creative flows.

“It’s in the doing that the idea comes”

6. O. S.: Could you please tell us about your course «Sketch Like an Architect»

D. D.: Sure, this course is for people who want to learn or get better at architectural sketching. This bite-sized online course's sub-title is 'Step-by-Step from Lines to Perspective' and my students learn everything from the very basics of making straight lines to gradually more complex compositions of sketched perspectives. On the way I also share tips & tricks on lines & 2D objects, perspective rules, shading and texturing, populating your sketch and adding vegetation, and combining all these elements into one awesome perspective sketch.

Part of this course is also a 60-page PDF Handbook with all the summarized information, worksheets for practicing, and finished examples of sketches with explained techniques.

• You can join this course on Skillshare and get 2 months of Premium Membership for free (no payment, cancel anytime) via this link: check it.

• The PDF Handbook is also available separately on my Gumroad page: check it.

7. O. S.: How do you see the future of hand rendering in architecture and interior design?

D. D.: I am very optimistic about this - I can't imagine something would replace hand-sketching in our industries in any foreseeable future. From all the reasons mentioned above I believe it will stay an important part of both design process and presentation and maybe there will be even more demand for it as the human touch added to hand-renderings is irreplaceable and will always connect us on a very human level.

“I can’t imagine something would replace hand-sketching in our industries in any foreseeable future”

8. O. S.: What one advise would you give for beginners in hand rendering?

D. D.: Learn to observe and understand why things work and look like they do. Observation skills are essential for good sketching, for composition, light and shadows, proportions, materiality, and everything else. Train yourself to be better at observing! What I love about sketching is that it forces you to understand the object first before you're able to draw it. In that way, when you sketch you'll always learn something new.

Interview with David Drazil by Olga Sorokina.

P. S. Please share this inspiring interview with your friends, they will be glad you did. Thanks in advance!

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Interview #1 with Masoud Farhad, architect and freehand sketcher

“I try to pioneer new drawing tools and find out unusual substances to paint with, for instance I coated handful amount of my sketches by using coffee and beet syrup.”

— Masoud Farhad

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1. Olga Sorokina: How did you come to sketching and what was your initial step in sketching?

Masoud Farhad: My field of study is architecture and definitely, it is the most adventurous profession amongst all skills. Architecture can be categorized into different separated parts. One part is the theory of architecture and at the beginning it focuses on the history of classical art and architecture in the world and continues to contemporary theories. The other parts are more practical and architect picks up a pen to design a building. The procedure of design is a complicated process and must be carried out correctly. To develop and Idea, it’s necessary for architect to draw primitive simple shapes. Those simple sketches develop toward final design. It’s highly important for each architect to know how to sketch. I figured out the importance of the issue when I was green at the university. I realized that good sketchers can be good architectural designers. Since then, I made my mind to become a good sketcher. Although I was good at drawing by heart, I seriously tried to improve my abilities. Now, architectural sketching is my main profession.

2. O. S.: Could you please describe your process of creating sketches (and how long does it take), for example this one:

M. F.: A good sketcher should be equipped with simple but important drawing tools. A proper surface to work on and a good pen to work with and also a nice atmosphere to work in. Primitively I evaluate the size of the sketch according to the size of the page. Then I draw principal lines of the sketch in a fast way. Details are not included at this stage. Afterward, I add other components like furniture in details. The direction of light shows how to cope with shadows. A good sketch has a good lighting. Then I put the color on the sketch on aesthetic regulations using colorful markers and brushes. A little less or more, it takes half an hour to complete one work.

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3. O. S.: You have very beautiful technique for your architecture sketches, it looks like combination of markers for a building and watercolor for the sky and background, or maybe it is waterbrush?

M. F.: Each sketcher is good at one or two drawing and painting methods, I prefer to use the combination of techniques for rendering. The main part is painted with different colors of markers and the rest is coated with ink. Every method has its advantages and disadvantages, for encircled areas it is easier and faster for me to use markers, mostly for trees and sky I can deal with ink much easier. It gives me the ability to work with fading colors in perspective. I use brushes to put the color on the surface. There are possibilities to easily mix colors to achieve new ones. Undoubtedly, the density of the ink and strength of color can be controlled by mixing it with water. I can quickly obtain variety of color tones from each tint by adding pure water. It is controllable and easy to manipulate. For a beginner, it is a sort of trial and error and with practicing it becomes an interesting hobby. It makes me feel like a boss and my tools are loyal employees. The achievement always sounds satisfying.

4. O. S.: How do you make perspective for your interior sketches, do you use computer programs or do you make it by yourself?

M. F.: I personally believe in architectural computer software and applications in this technologically improving century. It is undeniable to take the advantages of computer sciences. It is neat and accurate. I have to clarify that I have never worked with software to draw. I do call my works as freehand sketches. All of them have been done by hand. Interior and exterior perspectives are created by drawing correct composition of lines and putting the colors aftermath. The only way I am enjoying the computer is using software to balance the strength of lines and to slightly modify the contrast among colors. The original colors of the works are in logical order but when it comes to screen looks a little darker and in sum, software edits seems unavoidable.

“No matter how many modern applications and computer utilities come to the market, freehand sketches illustrate new designs effectively faster.”

5. O. S.: What are you currently working on?

M. F.: It is commonplace to draw things by using fountain pens and other common drawing pens and pencils, I try to pioneer new drawing tools and find out unusual substances to paint with, for instance I coated handful amount of my sketches by using coffee and beet syrup. I have checked substantial number of colorful food stuff and chemical liquid substances to use them in sketching just as water-color and ink. In addition, I am doing my best to publish my book which is about sketching techniques in at least three languages. The result is amazing.

6. O. S.: Please tell us about your sources of inspiration. What helps you to be productive in sketching? One thing is coffee I suppose, according to your Instagram :-)

M. F.: To be honest I am crazy about going through intact nature, seeing mountains, clouds, trees and rivers. It makes me feel like I am eager to create works. Also I like rural wooden cottages standing in the middle of a rain forest. I like to sip a cup of coffee sitting on a bank of a river. It makes me feel like I am alive and my hand must create artworks. I figured out that some sorts of natural colors could paint my sketch as I painted handful numbers of my perspectives with a coat of coffee. Anonymous natural powers push me toward notable innovations. It inspires me to wake up and shine. Natural compositions are the source of all arts. No matter it is a piece of music or visual arts.

“It’s highly important for each architect to know how to sketch.”

7. O. S.: How do you see the future of sketching, particularly in interior design?

M. F.: The universe is always in motion and it never stops even for a second. It is necessary to keep up with it. As the world and attitudes are changing, interior and even exterior architecture changes too. Architect has to design new patterns and designs according to new attitudes and actualize it on a piece of paper via fast freehand sketches. Sketch matters and will never lose its workability. No matter how many modern applications and computer utilities come to the market, freehand sketches illustrate new designs effectively faster.

8. O. S.: What advises would you give for beginners in sketching?

M. F.: I suggest the beginners to study relevant books and see variety of good sketches. They have to learn step by step. It is impossible for a person to become a perfect artist overnight. At the beginning, they should get to know sketching tools and then learn how to use them effectively. They should learn basic concepts of illustration rules appropriately, then practice to draw interior and exterior perspectives. They should get familiar with shadowing process which seems a little perplexing. Shadows make the third dimension easier to understand. At the end, it is necessary to learn how to use colors and relevant tools properly to make a good composition of lines and colors. I strongly suggest to beginners to believe their potentials. It is necessary to study and revise sketchbooks or take part at sketch courses to learn techniques, but avoid making replicas from other works and try to create personalized one. I bid green students to compile their works to compare primitive ones with recently done works and by this way the quality of learning process can be easily assessed. The collection can be kept as a personal worthy treasure. The process of learning should be under accurate control.

Interview with Masoud Farhad by Olga Sorokina.

P. S. Please share this inspiring interview with your friends. Thank you!

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To contact Masoud please use information below:

Email: freeehandsketches@gmail.com

Instagram: masoudfarhad

Facebook: Msd Fhd

Linked in: Masoud Farhad

Twitter: masoudfarhad

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Olga Sorokina