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Drawing Pre-knowledge and Design: A Case

Study of Year Two Undergraduate Architecture
Students of Ahmadu Bello University

Conference Paper · March 2016

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 21st Century Human Habitat: Issues, Sustainability and Development 1163

Drawing Pre-knowledge and Design: A Case Study of Year Two Undergraduate

Architecture Students of Ahmadu Bello University
Ohambele, C. C.1*; Maina, J. J.2; Stephen, H.3 & Okafor, C. A.4
1-4
Department of Architecture, Ahmadu Bello University Zaria, Nigeria
*
ohambel@[Link]
ABSTRACT
Pre-knowledge is the potential skill acquired before entering school or before its relevance is put
to use, which aids, enhances or augments education. Drawing is an inevitable aspect of the
architectural education and design and the ability to graphically present cognitive design
proposals to physical entities is an essential skill for all architects. This research assesses the
drawing pre-knowledge of 53 year two undergraduate students in Ahmadu Bello University. The
survey provided information on the students‘ ability to convey cognitive and physical realities on
paper via drawing. A relationship was also sought between grades in design related courses/tasks,
preferred techniques for graphical representation as well as demographic data through
questionnaire responses. Study findings reveal that many students are yet to achieve mastery in
free-hand drawing as a technique for representation. No relationship was observed between their
semester grades in design related courses/tasks to their inherent ability to draw. It was also
observed that, although some of the students didn‘t find free-hand drawing as the most suitable
technique for representation, they engage in it because it is required of them by the curriculum.
The implication of these findings on architecture education and design is that the sample set of
students surveyed lack satisfactory drawing pre-knowledge prior to entering the School of
Architecture. The paper recommends that Schools of Architecture need to emphasize the need of
free-hand drawing exercises as part of admission entry requirements and in early formative years
of training in order to improve the cognitive design skills requisite for quality architecture
education of future architects.

Keywords: Drawing, pre-knowledge, architecture education

INTRODUCTION
Foreknowledge/Pre-knowledge ―is the awareness of something before it happens or exists.‖
(Oxford English Dictionary, 2003). In architecture, having foreknowledge of the profession
means to have burgeoning understanding of the design ideas, representation techniques and
artistic inclinations that would supplement the formal education to be received in the
classroom. In the case of prospective architecture students, it is adequate that such, has a
synoptic idea on the rudimentary knowledge of the course and the architectural skills that
may aid in the pursuit of his/her professional career.
The core course in an architectural curriculum is design (Cikis, 2009). If any student be
unsuccessful in this course, both peers and educators may perceive he/she as being
architecturally blunt. Both students and educators perceive this as the central aim of being in
the professional course (Adedapo, 2012). The essential method of designing is drawing,
either in virtual reality or on crude surfaces.
Bhzad (2013) explains that, the extent of ingenuity expressed by any student, depends partly
on the student‘s ability to conceive a new idea or approach to solving a problem and not
necessarily produce a wholly creative one. (Yi-Do & Gross, 1996) says design requires
reasoning, expressing ideas, making decisions, evaluating and verifying proposals and finally
proving decisions, a similitude in all problem-solving activities. Because architectural
education depends greatly on ideas, the backbone for the interpretation of these ideas are
usually visual representations and verbal expressions, which the former takes preeminence. In
addition, Adedapo (2012) explains that, the various elements of architecture within their local

Ohambele, C. C.; Maina, J. J.; Stephen, H. & Okafor, C. A. (2016). Drawing Pre-knowledge and Design: A Case Study of Year Two
Undergraduate Architecture Students of Ahmadu Bello University. In Ebohon, O. J., Ayeni, D. A, Egbu, C. O, and Omole, F. K. Procs. of the
Joint International Conference (JIC) on 21st Century Human Habitat: Issues, Sustainability and Development, 21-24 March 2016, Akure, Nigeria,
page number 1163-1174
 21st Century Human Habitat: Issues, Sustainability and Development 1164

environment would most likely creep into their own design performance and expression
unconsciously.
Rationale
Other literature have tried to ascertain the role of drawing; by highlighting the cognitive
complex development of the students‘ mind and their relationship with individuals gender,
Cherney (2006). While others have discussed on the characteristics associated with drawings
(and other media), and it‘s figures‘ relationship in relation to its designers socio-cultural
environment. Others have investigated the effect of pre-knowledge and their enthusiasm in
graphical representations and the total architectural education (Nazan Kirci, 2013). It is
however not clear the extent pre-knowledge of drawing skills play in architectural design
output of students.
Purpose of the Study
This research would try to highlight an important architectural representational skill: free-
hand drawing, which is essential to succeed for an architecture student in his/her pursuit. This
research aims to assess and establish the impact of foreknown drawing skills on individual
architecture students of the Department of Architecture, Ahmadu Bello University Zaria as a
case study.
Research Questions
So this research would try to answer:
i. What relationships exist between the cognitive realities perceived in the mind, the
physical realities, and the drawing capabilities of architecture students?
ii. What roles drawing foreknowledge have on graphically oriented architectural
courses of undergraduate architecture students?
iii. What other factors could affect the architectural design of students?

Research Objectives
i. Determining the possible relationships that drawing foreknowledge and
architectural design and graphics may share and;
ii. Determining the relationships that may exist between the architectural cognitive
realities, architectural physical realities and its influence/s on students drawing
capacity.
iii. Investigating any other factor that could influence architectural design.

LITERATURE REVIEW
Pre-knowledge
The term Pre-knowledge a synonym for fore-knowledge has a generic meaning. It isn‘t a
technical term in architecture nor does it have any direct relationship to architecture. (Oxford
English Dictionary, 2003) explains foreknowledge as, ―the awareness of something before it
happens or exists‖. This meaning only delineates foreknowledge as an aforehand premonition
of an event prior to its occurrence.
In architecture, for a student to be considered as being trained in this honourable profession,
design is inevitable. Architecture student‘s design is defined by (Schneider et al, 2013), as
―architects putting themselves in the perspective of a buildings future users to predict the
likely patterns of use in these buildings, concurrently generating shapes and forms that
corresponds to the expected users‘ needs.‖ This definition highlights the property of an
architect: that is, one‘s ability to dabble with one‘s imagination; an ability to create a virtual
imagery of his/her creative reality and exist in it, while juxtaposing the users convenience in
such virtual reality. This quality of an architect; if found in any student, gives such an
 21st Century Human Habitat: Issues, Sustainability and Development 1165

upperhand over others. This argument is also supported by (fallingwater, 2015), defining
architecural design as, ―necessary step to take in designing any structure… been able to
imagine such structure in the mind before transmitting it to paper…‖. Not to deviate,
Cahtarevic (2008) describes representation as ‗…the act of producing virtual reality and
involving the spectator into the pictorial space (…) Providing some kind of psychological
involvement and transfer of the spectator into the space in the picture.‘. Likewise (Yee) says;
architectural ―renderings‖ (representation) are the composition of various linear elements of a
building to provide an imagery that could better relate to the three dimensional environment
that is appreciated by everyone. To support this; while discussing on the necessary tools
necessary for future professional architects, (Alagbe, 2014) says,‖…they must have adequate
hands-on experience on manual drafting to enhance their design creativity…‖.
Architectural Design
Adedapo (2012) says within the architectural educational curriculum, architecture students‘
design is given paramount importance; that‘s why it is a major form of assessment by jury.
This is often because, design is a major course taken by students, which exhausts most of the
lecture hours of the student.‖. Graphical/Visual representation, (Yi-Do & Gross, 1996)
explains that, its role in design problem solving is of paramount importance. Representations
are the fruits of perception. In order for raw data to be shaped into a coherent whole, they
must go through the process of filtering and organization, yielding a structured representation
that can be used by the mind for any number of purposes (David J. Chalmers, 1991).
Graphical Representation
Sketching is still the quickest and the most direct means to produce visual representation of
ideas‖ (Ellen, 1996). This aspect of the architectural training is so important as it was also
part of a questionnaire set in a somewhat similar study, which asked first year architecture
students if they had pre-knowledge of any representation technique prior to entering the
university? 78% responded in negation to this p.620 (Nazan Kirci, 2013). This caused the
researcher conclude that, ―the language of architectural practice is a little known subject
among architecture students prior to studying architecture‖ pp.620-621 (Nazan Kirci, 2013).
We would in this study focus on sketching as a means of representation.
Grading drawings
It is a norm to find grading of artworks like drawings impossible. No wonder (Linda,
2008)says ‗Many have assumed its judgement to be subjective, because the different
drawings are produced by unique individuals with a personal understanding in their
perception of art‘. Because the educators themselves are human, they follow different rubrics
in judging artworks. Stating also that,certain sundry efforts have been made to ascertain and
lay down certain paradigms for grading drawings, by assessing the qualities of the work such
as:
i. Choice of subject .
ii. Handling of media
iii. And control of the composition
But one bane that (Cikis & Cil, 2009.) says pertaining assessment by numerous mentors is the
use of ―a particular conceptual framework‖, and any deviation from the stipulated criteria is
often poorly rewarded. Likewise, the framework may be ambigiuos, giving room for hidden
criteria to operate during assessment, discouraging ideas outside this framework. So for the
case of this research, the method of assessing drawings would be chosen from one below;
 21st Century Human Habitat: Issues, Sustainability and Development 1166

i. Limitless members of jury: where decision is based on arbitrary choice from a sample
of public opinion. No particular rubric is provided as a guideline, except the quality
observed by the viewers in response to personal choice (bias).
ii. Sole jury: this is observed in single classroom settings, where a particular educator is
assigned to a number of students to educate them in a particular subject or subjects;
where such is left with the sole responsibility of grading, assessing and assigning
tasks to them.

METHODOLOGY
Sample selection
Students of architecture department Ahmadu Bello University, Zaria are the case study for
this research. The following criteria for sample selection was considered to achieve the best
stock,
i. Offered a graphical course either in the university or before coming to the university.
ii. Seen one or more of their semester results on architectural design or graphics.
iii. Current drawing skill from their pre-university education.
iv. The lowest influence in design by their school of architecture.
The only category of students to have fit into these criteria was the second year
undergraduate (200 level) students. They were the only category of students who had surface
alterations in their design concepts or understanding, compared to their immediate juniors
who were, as is in line with the department‘s curriculum still taking majorly science related
courses. Their senior colleagues were doubtful a choice because, their years of consistent
mentoring with the architectural precepts would have permeated them.
Questionnaire
A questionnaire was the medium of survey that was used to obtain information of the
respondents‘ level in school, age, and graphical subjects taken while in secondary school; if it
was technical drawing or fine art. Also, information concerning the respondents‘ present level
of familiarity with architectural software. It also obtained what method of representation they
may prefer, either free hand or technical drawing, sculpting out in 3-Dimensional forms or
painting/drawing in 2D forms, likewise previous grades on architecture design and graphical
oriented courses were obtained. The respondents were asked to draw a realistic perspective of
their observed space and an abstract façade, in order to relate both results. To support this,
another practical example was given: they were asked to assume most accurately the height
of the researcher and the headroom of the space they were in, in the familiar measurement:
which is millimeters. To verify what aspect of design they were passionate about, they were
asked if they preferred working drawing to presentation drawing. All these was taken to
assess their inclination to generic aesthetical graphics, and note if any coherence existed
between their ability to relate proportionally reality viewed on to surfaces. For other
subsidiary factors to be considered, they were required to indicate if they were right-handed
or left-handed. Other questions include, their personal preference to what aspect of the design
process seemed most difficult. Understanding user functions within space and
implementation in their designs; adopting an abstract concept and implementing it into design
was also enquired. Similarly, it enquired if they (the students) were satisfied personally with
their present level of design creativity and those of their colleagues; and if the school of
architecture was making the design process easier for them to express themselves using the
graphical skill they found most familiar with.
Grading drawings
The questionnaire required assuming the physical height of the researcher, so the researcher
stood at a conspicuous position in front of the class. In addition, the researcher was hands on
 21st Century Human Habitat: Issues, Sustainability and Development 1167

to collect the filled questionnaires and answer any other questions they may have concerning
filling it. Only 53 respondents were assessable. Seven senior colleagues within the
department were chosen to grade the respondents‘ drawings on a scale of ten, because of their
obvious exposure to architectural precepts over the sample population, guided by its
obedience to proportionality; balance; graphical prowess and ability to emphasis depth,
height and contrast as well as to follow the principles of drawing/design.
Analyzing Questionnaire
The questionnaires were analyzed and converted into information. The collected information
was collated, produced and represented using figures and tables showing a brief summary of
the entire provided data. These information were interpreted aided by literature to support or
negate the provided study‘s assertion.

FINDINGS
Sample Population
As we have stated above, based on the criteria given, our choice of sample population was
obvious. The second year undergraduate class---that is the 200 level students---based on
reliable information from statutory personnel of the department, as at the time of this research
stood at 86 students. Nevertheless, as is a norm: the amount of questionnaires given do not
usually come back perfectly assessable. The overall acceptable and assessable questionnaires
that were returned stood at 53, which is 61.6% of the 86 questionnaires handed out.
Results
It was obtained that 77% of the students had undertaken a graphical course; based on this
study: fine art or technical drawing which could better enhance their graphical capacity.
Thus, a high probability for the students to have a good foundation in graphics representation,
which makes graphical courses easier for students to engage in. So it was observed that 54%
of the students, were satisfied or had gained mastery with the technique of representation that
they had taken as a course in their pre-university education. In essence, they were satisfied
with their pre-university graphical exposure. It is also observed that 23% of the students were
not interested or had not attained mastery in the graphical technique they took as courses
while in Secondary School. Meaning: the graphical technique they preferred to engage in
were not the same graphical subjects they were taught back in Secondary School. For
example, a student who took fine art as the only graphical subject in secondary school would
prefer to use technical methods rather than an arbitrary method such as a free hand drawing to
illustrate their cognitive ideas or representations. Also results showed that 45% of the
students partook in the drawing exercise, highlighting the fact that not all the students who
are free hand artist are always ready to draw when the need arises. Another observation was
that, among these students that partook in the drawing exercise, only 20% of these students
who received fine art training partook in this exercise: an anomaly. Meaning that 80% of
these students were available to draw even though it may not be their strong points. This
finding reinforce formerly iterated literature that, free-hand drawings still maintains its basic
role as the fastest and easiest way to relate realities on surfaces.
It was observed that 60% of the students that took part in the drawing exercise would most
likely draw with free hand when availed the opportunity, contrary to the technical courses
they undertook while in Secondary School. This implies that, since drawing by free hand is of
public demand, the school of architecture should imbibe fine art or its relative as prerequisite
for admission. Further information revealed that despite the students‘ inadequacy in free hand
graphics, they are getting trendy with application software that are useful for graphical
representations.
 21st Century Human Habitat: Issues, Sustainability and Development 1168

Figure 1. Distribution for Software Familiar to Students

Results revealed that at 96% of the total number of students have gained some level of
familiarity with at least an architecturally inclined software. This further proves that, although
their capacity to adopt the fastest way of representation, which is drawing, they have sought
to adopt other modes of representation that appeals to them. From both instances, they seem
to have fallen short of expectations.
As shown in Figure 1. Average scores obtained by students‘ interior perspective was 2.08 and
in building‘s façade was 2.72.

Figure 2. Distribution illustrating students’ average scores in drawing task

This insinuates that, the students would have a greater edge in drawing cognitive abstract
views rather representing visual realities unto paper. Implying that, any of the students from
this sample population if picked at random, cannot fully represent architecturally or
otherwise, realities either in the cognitive or real on to surface for others to appreciate its full
context. So, this particular set of students inclined to free hand and those that claim mastery
in this skill are not impressive drawers as they claim to be. From research it was also
observed as shown in Figure 2. That in their curricular course; architectural design, almost all
the students of this class are averagely good, while in architectural graphics, there are two
extreme divisions of students: those that pass it with distinction and those that fail it woefully.
If this result is compared to former results, there seems to be a correlation. Implying that the
grading method adopted by this school of architecture at present is dependable when
compared to the other methods of grading drawings.
 21st Century Human Habitat: Issues, Sustainability and Development 1169

Figure 3. Distribution of frequency for Students’ grades in architectural courses requiring graphical
representation
The students indicated that they preferred presentation drawings than working drawings,
given a consistency in their average scores in the drawing exercise. The students maintained a
neutral stand when asked what their capacity to relate physical realities on to paper was;
implementing abstract concepts in to their design and appropriating the users‘ need within the
design.
Other results showed that the students were able to determine proportionately what
dimensions their physical realities were, but unable to represent this dimensions relative to
other elements of the physical reality on to surfaces through sketches.

Figure 4. Distribution for difficulty levels in relating realities

Also, their ability to assume proportionately the sizes of animate and inanimate elements
within their physical environment was tested and it provided the results Figure 5. It revealed
that a larger sample of the class would assume almost exactly the dimension of an animate
element than the other.

Figure 5. Assumption Chart

 21st Century Human Habitat: Issues, Sustainability and Development 1170

An awesome fact obtained from the research indicates that left handed students preferred
presentation drawings and were able to relate elements within their physical realities
proportionately. But data for right-handed students did not give a particular assessable
pattern.

Figure 6. Left-handed Students Chart for Drawing Style Preference

The students were asked to state their level of satisfaction pertaining their state of creativity.
Their response as shown in figure 7. Their classmate‘s level of creativity and the level of
freedom to express themselves architecturally, their response was that of dissatisfaction and
satisfaction: which I wish to denote as a state of confusion.

Figure 7. Distribution for Responses

Therefore, in relation to the objectives we set out with from the beginning; we could see that
drawing as a pre-knowledge for entering an architecture school is integral and the students
know this. But in its relation to the two graphically oriented courses: architectural graphics
and design, their individual grades seem not to follow any pattern when collated and analyzed
with their drawing capacity. Likewise, the research showed that students were unable to
relate their physical realities on to surfaces through drawings but had good photometric
capabilities. When posed with an opportunity to express their thoughts or physical
environment graphically, they will find it difficult.

CONCLUSION
From the onset, we sought to answer questions as regards students drawing pre-knowledge
and one of these was ―what relationships exist between the cognitive realities perceived in the
 21st Century Human Habitat: Issues, Sustainability and Development 1171

mind, the physical realities and the drawing capabilities of architecture students?‖ The
research showed that the students found it difficult to translate cognitive or physical realities
on to paper, and were well aware of this fact. This was observed in the students‘ defiance to
perform a sketch, although, quite a number of the students claimed to have attained mastery
in a particular representation technique. The study showed that a number of students that had
taken a graphical subject while in secondary school were unwilling to adopt the learnt
technique in tackling any drawing exercise. The research also highlighted the fact that the
students were able to presume dimensions by sight, but were incapable of representing these
perceived dimensions on to paper proportionally. Regarding the research question that seeks
to determine ―what roles drawing foreknowledge has on graphically oriented architectural
courses of undergraduate architecture students?‖ From study, we noticed that students were
well below average in architectural representations in relation to commendable graphics and
design, but felt they were twice as good in these courses. Approximately 80% of the students
claimed to have obtained some form of formal training in at least Fine Arts or Technical
Drawing, thus enforcing the role that any technique for representation would play in
augmenting the received architectural education. Likewise, other factors that could affect the
architectural design of students within this research, was that students would very well prefer
arbitrary graphical works than they would architecturally essential working drawings. Thus,
students would prefer an uncoordinated format for representing their drawings than the
stiffened method for architectural representation. And it was observed that left-handed
students preferred free-hand graphically oriented tasks than coordinated technical drawings.
Alternate Interpretations
The population used in this study were only a sample of the many levels of the undergraduate
students. If this research were to be carried out on other levels of architecture within the
institution, we may obtain a contrary result or confirmation. Talk more of other sample
students within the global architecture schools. Criteria such as socio, cultural, religious or
educational backgrounds may play very strong roles in determining the end results of the
research.
The results provided may yield quite different results, if aspects of the questionnaire such as
the drawing were graded by other persons within the society who had little or no affiliations
to the architecture field and perception. Their unconscious individual bias for standards in
accepting a drawing as obeying proportionality; balance; graphical prowess and ability to
emphasis depth, height; and this ability is dependent on the individuals understanding of
these terminologies.
Based on the method of assessment chosen to analyze the provided data within respondents
questions, like the drawings made by the students. The grades supplied by the graders could
be challenged on several fronts such as; drawings have no standard rubric to be followed
during grading.
Also, the students may have misinterpreted the need for the questions contained in the
questionnaire. The provided information may have been flawed by the respondents due to
misinterpretation of the entire purpose of the research. Students may have filled the
questionnaire through public/peer choice or in a bid to impress or downplay the research
process, thereby reducing the potency of the entire purpose of the research.
Likewise the students‘ predisposition to presentation drawings than working drawings may
not suggest their inclination to engage in the former than the latter. As it is not everything that
a person admires that such can engage in.
 21st Century Human Habitat: Issues, Sustainability and Development 1172

Study Limitations and Recommendations

There seemed to be scarce literature to support in direct terms most of my terminologies in
relation to architecture. As little has been done in this field. During the process of dispensing
questionnaires, a few of the students were initially unwilling to fill my questionnaires.
Likewise, some of the students found engaging in a drawing exercise quite rigorous.
Therefore, unless the drawing exercise is extremely relevant, do not proffer it in a
questionnaire survey. In terms of analyzing the data, I had difficulty getting appropriate
personnel that would grade my questionnaire drawings. As most lecturers whom I first
reached out to, declined involving in giving grades to enhance the instrument of grading.
When undertaking a survey, guarantee the commitment of personnel that would grade the
drawings prior to handing out the questionnaire.

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 21st Century Human Habitat: Issues, Sustainability and Development 1173

APPENDIX

Figure 8. Interior perspective of classroom to be sketched

Sample student 1

Figure 9.1. Illustration of an abstract façade

Figure 9.2. Illustration of interior perspective

 21st Century Human Habitat: Issues, Sustainability and Development 1174

Sample student 2

Figure 10.1. Illustration of an abstract façade

Figure 10.2. Illustration of interior

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