Journal articles on the topic 'Architectural drawing'
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1
Mulla, Sarosh, Aaron Paterson, and Marian Macken. "Encountering drawing." Drawing: Research, Theory, Practice 8, no. 1 (April 1, 2023): 117–28. http://dx.doi.org/10.1386/drtp_00110_1.
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This project report outlines the research-led exhibition, Drawing Room – part of an ongoing collaborative design research project focusing on drawing – exhibited at Toi Moroki Centre of Contemporary Art Christchurch (CoCA), New Zealand. The research interrogates drawings that move – made by light, shadow and animation – and our encounters with drawings through the manipulations of scale and virtual reality (VR). The research investigates the relationship between scale, moveable drawings and bodily engagement in architectural drawing and the speculative nature of VR in architectural drawing. The research places architectural drawing within an expanded practice – shifting its generation from the architectural office – by way of critiquing the normative ways of representing the discipline of architecture. This project demonstrates that the making of architectural drawings and their encounter engages the entire body; in encountering these, we occupy and inhabit the spaces of these drawings. The project investigates the influence of speculative drawing practices on the conceiving and developing of developing architectural built work through the use of exhibition.
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Paterson, Aaron, Sarosh Mulla, and Marian Macken. "Drawing the room | Drawing within the room." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 261–75. http://dx.doi.org/10.1386/drtp_00036_1.
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This project report outlines ongoing collaborative design research that addresses aspects of architectural drawing, in particular scale and time. This project is discussed through the lens of the inhabitation of drawing: in both the making of, and encountering, drawing. ‘Drawing the Room | Drawing within the Room’ (2019) couples projective drawings with post factum documentation – or creative post-occupancy data – of built houses. Using motion capture technology, the movements of inhabitation are captured and translated to line work animations. The resulting drawings of inhabitation are projected full-scale, exhibited in the space of the architectural office, the site of conceiving and production of both drawings and architecture. Using the architectural office as the space of installation and exhibition presents a practice for acknowledging and engaging with these spaces of creativity, beyond casting the office as commercial space. The project explores contemporary performative drawing practices within architecture and considers the ways in which bodies and drawings interact. This work highlights the fundamental importance of lines within architecture, not as demarcation, divider or indexical references, but as temporal traces of bodily movement.
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Schaeverbeke, Robin, and Hélène Aarts. "‘Architectural literacy’: Functions of architectural drawing." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 83–97. http://dx.doi.org/10.1386/drtp_00052_3.
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‘Literacy’ refers to the ability to both assign meaning to – and to create messages. Transposing this concept to ‘architectural literacy’ could refer to the assigning of meaning to architectural messages and the ability to create such messages. ‘Architectural literacy’ suggests that architects employ a distinct language to communicate, process and design spatial propositions and that the knowledge of such literacy could be of importance to a broader community. In architectural practices, drawing is used to discourse about forms and spaces. Our approach to disassemble architectural drawings in a set of functions, aims to add understanding about a specific ability to learn and understand architecture. Disassembling architectural drawing in a set of functions stems from a reflective conversation upon our practices as drawing teachers in architectural faculties. In an attempt to (re)structure the didactic foundations of our own teaching practices, we started discussing the kind of drawings architects resort to. This research gradually revealed a set of distinct, yet interrelated functions and activities. We introduce architectural drawing as a specific faculty of a large field of drawing practices, which revolves around the convergence of perception, imagination, disclosure and artistic expression. Learning about the distinct activities and abilities to process forms and spaces provides a knowledge base to explore foundations of architectural reasoning.
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Murray, Shaun. "Drawing architecture." Design Ecologies 11, no. 1 (June 1, 2022): 11–33. http://dx.doi.org/10.1386/des_00014_1.
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Can we surpass the representational nature of architecture drawing to consider and discuss the agency of architectural drawing in process and result? Over the course of three years from 2019, a cohort of architect–drafters, architect–theoreticians and a curator are meeting every six months in a reflective exchange to discuss the production and exhibition of a collection of drawings and drawing-related artefacts. The varying cast of the bi-annual symposia are participants from the United States, Canada and Europe including Michael Webb, Perry Kulper, Laura Allen, Bryan Cantley, Nat Chard, Mark Dorrian, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Mark Smout, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Surpassing the representational nature of architecture drawing, a group of architects and I consider and discuss the agency of architectural drawing in process and result. Drawing architecture implies materializing an architecture within the drawing, where it can be sought, found and experienced. This refers to an action in the present progressive, an action by the author in the process of bringing into the world through drawing – architectural research through drawing. The artefacts, as drawings, that we are looking at are an end in themselves and not a preparatory means to build an environment as in how drawings are used in architectural practices for buildings. These symposia aim to reveal and come closer to the individual agency of each practice within the drawn discipline of architecture, to establish a way in which we can show this agency in an Exhibition at Montreal Design Centre in August–December 2022. The bi-annual symposium days were structured by round-table conversations and discussions that take place based on drawings or drawing-related artefacts brought in by the participants. In ‘Drawing architecture’ Session 1 in New York, we had an in-depth introduction of each participant’s practice with Michael Webb, Perry Kulper, Bryan Cantley, Nat Chard, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Participants expanded on their bodies of work, tools and the nature of the drawing practice. For ‘Drawing architecture’ Session 2 in London, we sharpened the conversation between the participants by: (1) establishing an angle from which we talk through the artefact(s) (drawing or drawing practice-related artefact), each participant from the standpoint of their practice. Angle: Talking through the drawing or drawing practice-related artefact, can you expand on the agency of the drawing (practice) within the discipline of architecture? Questions that might be helpful: (a) How does the drawing work as a tool of investigation (technique of leveraging knowledge). (b) Where and what is the architecture within the resulting drawing/artefact? When is the architecture in the process? Is there architecture within the drawing? (2) By placing the drawing or artefact central during the symposium talk and organize a group conversation around it. It might be that you bring one or more current drawings/artefacts enabling you to expand on the specific drawing practice investigation. The artefact might be resolved or unresolved, finished, ongoing or just starting and in the thick of things. The presence of the drawing allows the group to come closer to and understand the agency of the artefact itself, supported by talking us through and unpacking the artefact.
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Li, Wei. "Architectural Design with Autocad." Advanced Materials Research 926-930 (May 2014): 1692–95. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.1692.
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Architectural design is a creative work, the final results of it is image and visually expressed in the form of drawings. AutoCad technology and architecture design are the combination of computer application technology, especially the inevitable outcome of the development of computer graphics technology. Usage this software is not only able to design construction drawing with specification, beautiful buildings, and can effectively help designers improving the design level and work efficiently, this is the manual drawing. Mastering the AutoCad architectural drawings in other words is to have the advanced and standard of architectural design language tools.
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Lawson, B. "Reekie's architectural drawing." Engineering Structures 18, no. 8 (August 1996): 655. http://dx.doi.org/10.1016/0141-0296(96)87032-5.
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Ma, Yun, and Shan Hong Zhu. "Architectural Design Using AutoCad and Sketchup." Applied Mechanics and Materials 556-562 (May 2014): 6379–82. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6379.
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Architectural design is a creative work, the final results of it is image and visually expressed in the form of drawings. AutoCad technology and Sketchup software combined with architecture design are the combination of computer application technology, especially the inevitable outcome of the development of computer graphics technology. Usage of the two softwares is not only able to design construction drawing with specification, beautiful buildings, and can effectively help designers improving the design level and work efficiently, this is the manual drawing. Mastering the AutoCad and SketchUp architectural drawings in other words is to have the advanced and standard of architectural design language tools.
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Kavas, Kemal Reha. "Environmental representation: Bridging the drawings and historiography of Mediterranean vernacular architecture." Journal of Human Sciences 14, no. 4 (November 13, 2017): 3472. http://dx.doi.org/10.14687/jhs.v14i4.4758.
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Architectural drawings, which are projections of spaces on a paper surface, can be categorized according to the projections’ directional and temporal relation with the represented space. A projection becomes a documentation when it departs from an existing spatial organization for recording it on paper. The projection serves the design process when it departs from the present to foresee a spatial proposal in the future. While the former records the present within limited interpretive range, the latter is more constructive. While these two types of projections are known widely, there is another highly interpretive type of projection, the potentials of which, are generally underestimated. As the architectural historian’s tool, this third projection type represents bygone architecture. The task of this drawing, which is one of the least questioned issues of architectural history, is to restore an incomplete image by referring to material and textual sources. This drawing type contributes to the methodology of architectural historiography while conceiving, explaining and representing space.For illustrating this situation, this study analyzes the vernacular settlements and their environmental integration because this selected context reveals the interpretive nature of the third type of projection in a successful way. In this framework, the cut-away axonometric is considered as an appropriate drawing method for uncovering the integrity between architecture and its site or culture and nature. The outcome of this theoretical insight into the prolific relations between drawing and architectural history is coined as “environmental representation.”In history architectural products have been integral components of the environment. Then, the architectural representation of historical buildings through drawings becomes critical since the majority of architectural drawings tend to isolate buildings from their environment. This conventional representation of historical architecture has been the dominant tool of typological analysis. Typology, which is intertwined with plan drawings, categorizes historical buildings according to their spatial, structural and material organizations and disengages the buildings from their socio-cultural and environmental context. If this methodological problem of typology is regarded as a problem of drawing, a new mode of “environmental representation” can be proposed.This study proposes “environmental representation” of architecture through cut-away axonometric. This graphic proposal is based upon the theoretical references of “environmental aesthetics”, which is an interdisciplinary field analyzing the participatory human engagement in environment. “Aesthetics,” as a term, defines this bodily engagement into environment through the use of all human senses. In this theoretical framework this study challenges the assumptions of scientific theory for architectural representation of the “abstracted object” and proposes an alternative method of “environmental representation” on the basis of “aesthetics”. Within this scope, the proposed cut-away axonometric drawings produced by the author is analyzed in order to represent exemplary historical contexts of architecture selected through the vernacular settlements of the Anatolian Mediterranean.
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Perin, Gavin John, and Linda Matthews. "Organizing Architectural Atmospheres." International Journal of Creative Interfaces and Computer Graphics 10, no. 1 (January 2019): 16–29. http://dx.doi.org/10.4018/ijcicg.2019010102.
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The article outlines an alternative type of digital drawing technique for architecture called chromatic mapping. This new procedural drawing technique redefines the theoretical frameworks of digital design practice by manipulating the formal and spatial capacities of data captured in the image. The ensuing discursive and practical changes to architectural design practice deliberately leverage the ability of image-based software to gather, collate and modify real-world data. The pixel is central to chromatic mapping because it is the medium that translates form and space into color. This alterative definition of form as visual data contests the orthodoxy that only the line can delineate form and reactivates the issues surrounding the role of the image in architectural production. While maintaining digital architecture's ambition to reduce the procedural and formal consequences of postmodern semiotics, this new drawing technique recalibrates the part images play in architectural production by activating image data to foreground drawings that simulate architecture's atmospheric qualities.
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Slavina, T. "DESIGN DRAWING – A REVOLUTION IN RUSSIAN ARCHITECTURE." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 8, no. 10 (August 28, 2023): 78–84. http://dx.doi.org/10.34031/2071-7318-2023-8-10-78-84.
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The art of design drawing dates back to canticism. Russian architecture did not know design drawings: the clergy of pre-Petrine Russia resisted design drawings; A different situation arose when the autocrat took the construction business into his own hands. Peter I became acquainted with design drawing in England during the Great Embassy. By royal power, he introduced design drawing into practice in Russia, along with the concepts of “architectural tour, plan, facade, proportion, scale, perspective,” as well as with the attributes of the profession - drawing paper, drawing board, compass, etc. Architect of a new formation began to draw and draw. The article examines the importance of a design drawing in the creative process: the separation of design and construction, the ability to clarify plans with a sketch, replication of a project (“model design”), etc. The design drawing had such a radical impact on the development of Russian architecture, that we have the right to regard its appearance as a historical turning point in the profession of “architect” and as the beginning of the profession of “urban planner”. Methods of architectural education have changed. The design drawing is especially important in urban planning: the general plan of the city made it possible to model its structure and composition and implement Peter’s idea of regularity.
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Abzal, A., M. Saadatseresht, and M. Varshosaz. "PHOTOMETRIC STEREO ASSISTED DRAWING OF ARCHITECTURAL RELIEFS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-4/W18 (October 18, 2019): 7–12. http://dx.doi.org/10.5194/isprs-archives-xlii-4-w18-7-2019.
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Abstract. Geometric documentation is one of the most important parts of a documentary report. Despite the advances made in the field of line drawing of ancient relief surfaces, in most cases, human operator interaction is unavoidable. In this paper, an algorithm for the semiautomatic line drawing of relief surfaces has been developed. In the proposed method, photometric stereo normals are used as a highresolution and low-noise data for the automatic extraction of surface edges. The normals are computed in 2D image space and also the fringe projection scanner is used for geometric correction of 2D image based drawings. Therefore, the drawings are converted to a metric map for geometric documentation reports. The results show that the efficiency of the proposed method, which has managed to correctly draw about more than 99% of the edge lines of an ancient relief. Also all of the drawn lines are completely coincided to the relief edges on its orthophoto image.
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Kovac, Vladimir. "Architectural drawing in the process of visual research: The new school concept of the representation of space." Spatium, no. 35 (2016): 54–62. http://dx.doi.org/10.2298/spat1635054k.
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The viewpoint of architect Djordje Petrovic on drawing as a research process, driven by his work at the Faculty of Architecture, University of Belgrade within the field of architectural drawing, is to be taken as a starting point for the analysis of the process of visual representation of architectural space in this paper. The analysis is primarily focused on the relevant period from the beginning of the seventies, when the concept of the New School was formed, and Petrovic introduced the concepts of visual research and visual communications to the curriculum, in his reassessment of the role of architectural drawings as a purely technical and information resource. The basic methodological question concerns the interpretation of the concept of visual research, conducted within the reformed curriculum, as well as its position in the then socio-cultural context and in relation to the actual practice of the time and the period that preceded it. Looking at the drawing as a powerful means of representations of space, the paper discusses architectural discourse determined by architectural drawing as the product of social and theoretical practice, similar to the hypothesis of Henri Lefebvre, presented in his work The Production of Space.
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Seo, Jihyo, Hyejin Park, and Seungyeon Choo. "Inference of Drawing Elements and Space Usage on Architectural Drawings Using Semantic Segmentation." Applied Sciences 10, no. 20 (October 20, 2020): 7347. http://dx.doi.org/10.3390/app10207347.
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Artificial intelligence presents an optimized alternative by performing problem-solving knowledge and problem-solving processes under specific conditions. This makes it possible to creatively examine various design alternatives under conditions that satisfy the functional requirements of the building. In this study, in order to develop architectural design automation technology using artificial intelligence, the characteristics of an architectural drawings, that is, the architectural elements and the composition of spaces expressed in the drawings, were learned, recognized, and inferred through deep learning. The biggest problem in applying deep learning in the field of architectural design is that the amount of publicly disclosed data is absolutely insufficient and that the publicly disclosed data also haves a wide variety of forms. Using the technology proposed in this study, it is possible to quickly and easily create labeling images of drawings, so it is expected that a large amount of data sets that can be used for deep learning for the automatic recommendation of architectural design or automatic 3D modeling can be obtained. This will be the basis for architectural design technology using artificial intelligence in the future, as it can propose an architectural plan that meets specific circumstances or requirements.
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Schmid, Peter. "Architectural Drawings: Teaching and Understanding a Visual Discipline." Dimensions 1, no. 1 (May 1, 2021): 173–80. http://dx.doi.org/10.14361/dak-2021-0122.
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Editorial Summary Professional drawing has always played an important role in the training of architects. Plan-drawings have already been sufficiently considered in established architectural research. The research of Peter Schmid presented in this text focuses on so far only scarcely examined architectural sketchbooks as well as various records used for architectural education, such as manuscripts for lectures or notes on perspective theory which belong to the »Munich School« - a tradition of teaching hand-drawing that developed over a period of 150 years through an on-going teacher-student relationship at the Technical University of Munich. He finds that the aim of »Munich School« was not only learning how to illustrate, but also to comprehend architecture through graphic analysis - thereby combining teaching and practice. Against the background that the interest in hand-drawings has significantly increased in recent years, the research helps to refine the role of hand-drawings today as a tool that sets »processes of cognition in motion«. [Ferdinand Ludwig]
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Bafna, Sonit, and Hoyoung Kim. "Beyond instrumental use: a study of writing on architectural drawings in the late twentieth century." Architectural Research Quarterly 22, no. 1 (March 2018): 41–54. http://dx.doi.org/10.1017/s1359135518000313.
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The 1980s witnessed a sudden rise of writing and thinking about architectural drawings and their conventions. At about the same time, there also emerged a trend of a new type of presentational drawing in architecture, in which drawings were very complex to the point of undecipherability, graphically sophisticated, and sometimes seemingly created for their own sake rather than to represent a particular architectural project. Upon reviewing the texts on drawings from this period, two important insights are made about the use of presentational drawings in architectural practice and their relation to theory. First, that making of architectural drawings can constitute practice in its own right and such practice, if developed experimentally, leads theory, rather than lagging it and serving to validate it. Second, architectural drawings, over and above communicating information about their subject matter, can also function as a means to create social networks of discursive practice. These insights lead to an unexpected question concerning the distinctiveness of architectural practice itself.
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Allen, Stan, Niall Hobhouse, and Helen Mallinson. "Drawing matter: Plan." Architectural Research Quarterly 22, no. 1 (March 2018): 8–40. http://dx.doi.org/10.1017/s1359135518000234.
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Over the course of an intensive day-long session, the authors combed the Drawing Matter archives for exemplary plan drawings. Their selections are presented here in pairs, based on visual rhymes or striking contrasts, on cross-historical comparisons or the persistence of plan-making techniques over time.The architectural plan drawing is a paradoxical sort of object. In principle, an instrument that should be rendered obsolete by the act of construction, it nonetheless remains the most intensive and compact description of an architectural idea.‘Plan’ is a verb as well as a noun, and implies a path toward a specified outcome. The plan is fundamentally optimistic, countering entropy with order, and this anticipatory quality is embedded in the logic of the plan itself. Architects make drawings for buildings that do not yet exist. An architectural plan is an empty geometric scaffold that awaits both construction and inhabitation.But the plan also works retrospectively: it was the primary technical means employed in the measuring and recording of ancient architectures that was so fundamental to the education of a classical architect. And these drawings affirm that such reconstructions, far from being rote academic exercises, draw deeply on the architect's creative intelligence. In fact, we would argue that the conceptual power of the plan as a working instrument is precisely its capacity to function simultaneously as an analytical and projective device, poised between past histories and future possibilities.This collection of images makes a case for the continued relevance of the plan today as evidenced by the diversity, conceptual density and shear visual power of these artefacts.
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Schaeverbeke, Robin, Hélène Aarts, and Ann Heylighen. "Drawing and Conceiving Space: How to Express Spatial Experience Through Drawing?" Open House International 40, no. 2 (June 1, 2015): 74–79. http://dx.doi.org/10.1108/ohi-02-2015-b0010.
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Teaching drawing in architectural education raises questions regarding the representation of spatial experiences: to what extent can sensory experiences of space be intensified through observing and drawing and, perhaps equally important, what those drawings would look like? In the context of their drawing classes, the authors started to inquire the discrepancy between conceiving and perceiving space, and the aptitude of representing spatial concepts upon a two dimensional surface. Through observation and translating observation into drawings, students discover that conventionalised ways of drawing, such as linear perspective, only reveal part of the story. While linear perspective remains the dominant way of representing space, obviously visible in photography, film, 3D-imaging and architectural impressions, the authors started looking for ways of drawing which inquire possibilities of expressing spatial experiences. Drawing as an activity which is able to enhance spatial understanding, rather than as a tool to communicate virtual spaces. Next to drawing as a ‘skill’, which can be learnt, the drawing classes started to inquire non-visual aspects of space by analysing attributes of spatiality, which are difficult to convey through two dimensional drawings. Starting from a contextualisation of spatial drawing within architectural practice, the article examines the discrepancy between geometric space and lived space, in order to reveal the dubious role of linear perspective within (architectural) culture and history. After a brief return to how we imagined and represented space in our childhood, the article presents a series of practice based examples. Drawing on the authors’ teaching practice, it illustrates possibilities to expand our visual language by exploring space and spatiality through observing and drawing.
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Bnin-Bninski, Anđelka, and Maja Dragišić. "Scale on paper between technique and imagination: Example of Constant's drawing hypothesis." SAJ - Serbian Architectural Journal 8, no. 3 (2016): 322–39. http://dx.doi.org/10.5937/saj1603322b.
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The procedure of scaling is one of the elemental routines in architectural drawing. Along with paper as a fundamental drawing material, scale is the architectural convention that follows the emergence of drawing in architecture from the Renaissance. This analysis is questioning the scaling procedure through the position of drawing in the conception process. Current theoretical researches on architectural drawing are underlining the paradigm change that occurred as a sudden switch from handmade to computer generated drawing. This change consequently influenced notions of drawing materiality, relations to scale and geometry. Developing the argument of scaling as a dual action, technical and imaginative, Constant's New Babylon drawing work is taken as an example to problematize the architect-project-object relational chain.
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Fidyati, Fidyati. "IMPROVING ARCHITECTURE STUDENTS’ ENGLISH VOCABULARY THROUGH THE USE OF ARCHITECTURAL DRAWINGS." Englisia Journal 5, no. 2 (May 1, 2018): 113. http://dx.doi.org/10.22373/ej.v5i2.3073.
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This study aims to find out the effectiveness of architectural drawings in teaching English vocabulary at first-semester college students of Architecture, Malikussaleh University, Lhokseumawe, Aceh, Indonesia. The media applied in the research worked in both improving Architecture-major students’ ability to learn the target language and motivating them in the teaching-learning process. A likert questionnaires analysis was used to determine factors affecting students’ lack of English vocabulary. The quasi-experimental method was applied to acquire the test data needed. The t-test formula was then used to find out the differences between conventional teaching technique and using-architectural-drawings technique through the pre-test and post-test scores. Based on the analysis, the findings showed that there was a significant success on improving the students’ vocabulary mastery. However, as the architectural drawings used in the research were limited on the presentation type of drawing, other kinds of architectural drawings may not result in the similar way.
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Ma, Xiaoqiu. "Improved Chaotic Algorithm-Based Optimization Technology of Architectural Engineering Drawing Parameters." Computational Intelligence and Neuroscience 2022 (August 28, 2022): 1–8. http://dx.doi.org/10.1155/2022/1827209.
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The traditional methods deal with large sample data sets of architectural engineering drawings and they have high time complexity and space complexity as well. Their searching time is long and sometimes the results are unsatisfactory. Therefore, this paper proposes an optimization method designed for architectural engineering drawing parameters to overcome the limitations of the traditional methods. It is based on the improved chaotic algorithm. The algorithm proposes the optimization model of architectural engineering drawing (AED) parameters in the first phase. In the second phase, an improved chaos algorithm is used to optimize the parameters of architectural engineering drawing, and the modeling strategy of visual parameter optimization environment is constructed. Finally, the visualization parameter optimization process of architectural engineering drawing is completed. Through experiments, it is evidently observed that the method presented in this paper can effectively reduce the optimization time, improve the lighting illumination of buildings, and improve the optimization precision of architectural engineering drawing parameters. The proposed method considers multiple parameters and it has greater application ability in the field of architectural designs.
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Muratkulovich, Abduraimov Sherzod. "Principles of Combination of Architecture in the Process of Restoration and Conservation of Architectural Monuments." International Journal for Research in Applied Science and Engineering Technology 9, no. 12 (December 31, 2021): 2434–36. http://dx.doi.org/10.22214/ijraset.2021.39331.
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Abstract: The article deals with the history of construction of monuments in Uzbekistan, architectural formation, the initial task, architectural and functional changes that took place before our arrival, the historical value of the monument, material, structural, artistic and architectural aspects. the degree of preservation, the principles of determining the need for conservation and restoration of monuments, as well as their drawings, ie history, style, appearance of devices, decorations, patterns he worked on the spreads, fragments, sketches and projects of Nigorlam, and in some cases the model or layout of the future building, the proportions of architectural forms, paigor in drawing, all the proportions used in architecture, the law of proportions in architecture, the principles are explained as architectural decorations are designed in accordance with the shapes of the building. Keywords: Historical cities, architectural monuments, cultural and natural cultural heritage, architecture and urban planning, principles, forms, construction, restoration, conservation.
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Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 448–69. http://dx.doi.org/10.2307/3592497.
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Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectural forms.
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Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 1 (March 1, 2018): 29–55. http://dx.doi.org/10.1525/jsah.2018.77.1.29.
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Leon Battista Alberti famously likened the relationship between architectural structure and superstructure to the dualism of skeleton and skin. In Amorphous Ornament: Wendel Dietterlin and the Dissection of Architecture, Elizabeth J. Petcu scrutinizes how the Architectura treatise (1593–98) of Strasbourg artist Wendel Dietterlin the Elder (ca. 1550–99) subverted Alberti's theory and the aesthetic of stability it promoted by popularizing a style of amorphous architectural motifs that recall bone, cartilage, muscle, and flesh, melding built framework with decorative surface. Drawing these corporeal conceits from contemporary anatomical publications, Dietterlin inspired buildings, architectural prints, and objects that challenged tectonic conventions, upset the traditional split between exterior and interior, and emulated the figural arts’ involvement in representing interior human forms. In assessing how Dietterlin's Architectura turned the proverbial body of architecture inside out, Petcu demonstrates that Renaissance comparisons between body and building did not always project ideals of architectural beauty and reveals overlooked origins of baroque-era fusions of architecture and the figural arts.
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Li, Weihong. "3D Virtual Modeling Realizations of Building Construction Scenes via Deep Learning Technique." Computational Intelligence and Neuroscience 2022 (March 31, 2022): 1–11. http://dx.doi.org/10.1155/2022/6286420.
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The architectural drawings of traditional building constructions generally require some design knowledge of the architectural plan to be understood. With the continuous development of the construction industry, the use of three-dimensional (3D) virtual models of buildings is quickly increased. Using three-dimensional models can give people a more convenient and intuitive understanding of the model of the building, and it is necessary for the painter to manually draw the 3D model. By analyzing the common design rules of architectural drawing, this project designed and realized a building three-dimensional reconstruction system that can automatically generate a stereogram (3 ds format) from a building plan (dxf format). The system extracts the building information in the dxf plan and generates a three-dimensional model (3 ds format) after identification and analysis. Three-dimensional reconstruction of architectural drawings is an important application of computer graphics in the field of architecture. The technology is based on computer vision and pattern recognition, supported by artificial intelligence, three-dimensional reconstruction, and other aspects of computer technology and engineering domain knowledge. It specializes in processing architectural engineering drawings with rich semantic information and various description forms to automatically carry out architectural drawing layouts. The high-level information with domain meanings such as the geometry and semantics/functions of graphics of the buildings can be analyzed for forming a complete and independent research system. As a new field of computer technology, the three-dimensional reconstruction drawings are appropriate for demonstrating the characteristics of architectural constructions.
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Hougaard, Anna Katrine. "Architectural Drawing - An Animate Field." Open House International 40, no. 2 (June 1, 2015): 44–53. http://dx.doi.org/10.1108/ohi-02-2015-b0007.
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Architectural drawing is changing because architects today draw with computers. Due to this change digital diagrams employed by computational architectural practices are often emphasized as powerful structures of control and organisation in the design process. But there are also diagrams, which do not follow computational logic worth paying attention to. In the following I will investigate one such other kind of diagram, a sketch diagram, which has a play-like capacity where rules can be invented and changed as you go. In that way, sketch diagrams are related to steered indeterminacy and authorial ways of directing behaviour of artefacts and living things without controlling this behaviour completely. I analyse a musical composition by John Cage as an example of a sketch diagram, and then hypothesize that orthogonal, architectural drawing can work in similar ways. Thereby I hope to point out important affordance of architectural drawing as a ¬hybrid between the openness of hand-sketching and the rule-basedness of diagramming, an affordance which might be useful in the migrational zone of current architectural drawing where traditional hand drawing techniques and computer drawing techniques are being combined with each other.
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Akboy-İlk, Serra. "Drawing to read architectural heritage." Drawing: Research, Theory, Practice 2, no. 1 (April 1, 2017): 97–116. http://dx.doi.org/10.1386/drtp.2.1.97_1.
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Meseldžija, Hristina. "Discovering the hybrid model of architectural drawing at the beginning of the XXI century." SAJ - Serbian Architectural Journal 12, no. 3 (2020): 102–19. http://dx.doi.org/10.5937/saj2002102m.
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Professional, as well as research framework of contemporary architectural design implies a field articulated by the development of information technologies. So far, it has represented an area of the most rapid exchange of opinions and ideas, being subjected to various interpretations and speculations in different phases of the architectural design process - from initial ideas to final architectural simulations and realisations. Radical changes in architectural thinking have directly reflected on the usage and ways of understanding architectural drawing in the architectural design process. Furthermore, this situation led to radical changes in the traditional process of designing the architectural space. In the context of understanding the relationship between the architect and the drawing as his/her only authorial work, this relationship is being usurped by the implementation of the computer software as an intermediary tool between the two. The introduction of software in the architectural design process influences the emerging forms of the architectural drawing, offering new possibilities such as direct, current and omnipresent manipulation, as well as a multitude of representational possibilities. This paper problematizes the position of architectural drawing by examining its manifestations at the beginning of the twenty-first century as a consequence of the paradigmatic changes brought about by the digital revolution. Architectural drawing at the beginning of the century is disappearing in its traditional sense and is being replaced by different forms and roles in the architectural design process. Since the conducted research is observed primarily through the discipline of architecture, and more closely, through the field of visual arts, it will examine the role of drawing in the area of architectural representation. Additionally, the research results emerging in the form of a hybrid model of architectural drawing, will be discussed in terms of its creative potential and further explorative applicability within the field of architectural education.
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Wilkinson, Daniel. "The sculptor-architect: In rêverie." Design Ecologies 10, no. 1 (June 1, 2021): 99–121. http://dx.doi.org/10.1386/des_00012_1.
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As an architectural designer who has also worked as a figurative sculptor, my practice-led research sees the bringing together of sculptural modelling techniques with the sculpting of architectural drawings. Taking a singular reference to a lost architectural treatise by Michelangelo as its prompt, this article considers Renaissance sculptural practice as offering an alternate disciplinary footing to the norms that developed around Alberti; to which the development of contemporary architectural practice can be attributed. Through a process that moves towards drawing by way of a historically informed adoption of clay sketching, which is used to develop and inform an experimental polychromatic ceramic practice and virtual reality modelling techniques, my activities as a sculptor-architect critique the corporeal dismissals that marked the codifications of the Renaissance. Central to this is the capacity of disegno, which as a term was paramount for the era’s repositioning of architecture, painting and sculpture as liberal arts, to suggest broader approaches to design than an immediate reliance on drawing.
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Karimi, Zamila, and M. Saleh Uddin. "A Missing Link: Thinking | making | presenting." SHS Web of Conferences 64 (2019): 02017. http://dx.doi.org/10.1051/shsconf/20196402017.
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Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure ... Michelangelo The tradition of architectural drawings and making as a means of design thinking in a constant feedback loop results in discoveries that facilitate creative thinking in an iterative process. In the digital age, notion of drawing and making by hand as a cognitive process of thinking is fading. This trend is increasingly evident in upper-level architecture students who depend strictly on digital tools for design thinking, missing many critical decisionmaking steps. Concepts of scale, diagramming, composition, materiality are missing − part of the challenge is the computer screen and the lack of tactical autonomy with physical materials − pen, pencil, brush, architectural scale, materiality, construction, assemblage. How can we as educators assert that drawings are not just architectural representations, but a means to architectural inquiry? Why is it critical for our students to use hand drawings, sketching and diagramming when exploring ideas? Can small gestural models provide notions of scale, materiality, and construction? Teaching pedagogy has always engaged new modes of design thinking and communications as a way of design inquiry − a trait essential to architects. Historically, since the Renaissance, drawings have been the catalyst to advance architectural discourse. In the 20th century, different movements such as De Stijl, Constructivism and Bauhaus used a multi-disciplinary approach combining art and technology through the lens of drawing and making that led to a new wave of design pedagogy to push their imaginations into new territories which the digital augmented as technology advanced. We believe that today’s students need to continue to develop both hand and digital skills in tandem to optimize design thinking, making and presentation techniques. In doing so, they can advance architectural pedagogy to new heights as those before did; critically in a material and physical sense: as an embodied spatial experience.
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Kostić, Miloš. "Post-tectonic translations: Decoding poetics of architectural detail." SAJ - Serbian Architectural Journal 12, no. 3 (2020): 85–101. http://dx.doi.org/10.5937/saj2002085k.
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The research discusses the phenomenology of drawing details in architecture, approaching the drawings as a medium that carries poetic and technical aspects of architectural design and building. With digital technology advancements, a whole new set of terms and practices appeared that can be related to the changed notion of detailing in architecture. Addressing the problem of translation of architectural concepts into material practice, the research proposes a method for decoding the aspects of poetics of construction by overcoming the conventional representation techniques related to construction drawing, and introduces the combination of methods of interpretative 3D modelling and digital assemblage. By using tectonic theory as a theoretical framework, the research aims to define a new post-tectonic standpoint that can offer a unique perspective on the relation between design process, production and representation in architecture in the current moment. The new perspective outlines the poetical protocols in individual conceptual narratives of the selected authors, approaching the details in their work as a form of representational discursive images that could be interpreted as a microscale of macro ideas in the field of architectural design. The method of research is interpretative modelling that combines the analogue and digital techniques, and analytical drawings of the examples related to the discussed topic. By combining the digital and analogue approach, the aim is to offer a new perspective in the form of the dialectical model for interpretation of architectural detail that could offer new insights into contemporary tectonic discourse through which variant states of the poetical and technical design thinking could be decoded.
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Bolgia, Claudia. "An Engraved Architectural Drawing at Santa Maria in Aracoeli, Rome." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 436–47. http://dx.doi.org/10.2307/3592496.
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The use of tracings-drawings engraved on floors or walls showing an architectural detail to scale-was an important stage of the Gothic building process. Although examples of such engravings have survived all over Europe, very few Italian tracings are preserved. Two hitherto unknown examples, found in the Roman church of Santa Maria in Aracoeli, are presented here for the first time. One portrays the profile of a small base and was probably a trial drawing. The other is a two-light-and-oculus tracery pattern, and is particularly interesting because it is drawn to full scale and was cut into a reused slab of ancient marble. In this essay, I reconstruct the geometric process of generating the design and analyze the position of the tracing, with its peculiar Roman features, within the European Gothic context. I also consider the engraved drawing's possible function (guideline for template- and stone-cutters, or slab from which the tracery was to be cut directly), destination (sepulchral monument, window, or ciborium), and dating.
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Ibáñez Fernández, Javier. "Gothic Drawing and Drawings in the Gothic Tradition in the Iberian Peninsula (13th–18th Centuries)." Arts 12, no. 1 (February 15, 2023): 37. http://dx.doi.org/10.3390/arts12010037.
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The inventory and cataloguing of the architectural drawings in the Gothic tradition made In the Iberian Peninsula has brought together exceptional sources that were previously scattered, usually little-known and valued, and, in many cases, unpublished. These materials can now be analyzed from multiple points of view, notably as tools for planning and surveying; as invaluable documents for the study of the enterprises they represent or helped to develop; as sources for the study of master builders; and as data sets for the analysis of the typological models, vaulting solutions, and rib-vault designs used in Gothic architecture—and in architecture of Gothic tradition—built in the Iberian Peninsula throughout the Middle Ages and Early Modern period.
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Muratkulovich, Abduraimov Sherzod. "Principles of Architectural Form Harmony in The Process of Restoration and Conservation of Architectural Monuments." International Journal for Research in Applied Science and Engineering Technology 10, no. 12 (December 31, 2022): 2365–67. http://dx.doi.org/10.22214/ijraset.2022.48364.
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Abstract: In the article, the history of the construction of monuments in Uzbekistan, their architectural formation, their initial function, the architectural and functional changes that took place before they came to us, the historical value of the monument, from the material, structural, artistic and architectural aspects. principles such as the level of preservation, determining the extent to which monuments need conservation and restoration, as well as the architects of the past, before constructing buildings and structures that have been preserved in the form of monuments to us, drew their drawings, that is, their design, style, views of devices, decorations, patterns he worked on the layouts, fragments, drafts and projects, and in some cases, the model or layout of the future building, the proportions of architectural forms, paigor in the drawing, all proportions used in architecture, the law of proportionality and harmony in architecture, architectural decorations the principles of how it is designed in accordance with the building forms are described.
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Liu, Yajuan. "Curriculum Reform and Practice of Architectural Engineering: Based on Architectural CAD." Journal of Architectural Research and Development 5, no. 5 (September 28, 2021): 8–11. http://dx.doi.org/10.26689/jard.v5i5.2504.
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Architectural CAD is the core course of Engineering Cost Specialty in higher vocational colleges. If students can gradually develop the ability of architectural drawing recognition and drawing when learning this course, they can lay a foundation for better work after graduation. This paper expounds the nature of Architectural CAD and the significance of cultivating architectural drawing recognition ability of students based on Architectural CAD course, and analyze the strategy of cultivating architectural drawing recognition ability of students based on Architectural CAD course.
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Craig, James. "The Autobiographical Hinge: Revealing the self in architectural drawing." Drawing: Research, Theory, Practice 6, no. 2 (December 1, 2021): 273–89. http://dx.doi.org/10.1386/drtp_00065_1.
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Some argue that the tendency to ignore the self as an aspect of the relationship between architects and their drawings is a consequence of the hegemony of digital modes of representation, others that it is inherent to traditional perspectival and projective techniques. It is in this repressive context that architects struggle to consider their subjectivity in relation to the drawings they produce. This article aims to divert this subjective distance by proposing a method for revealing the unconscious forces that abide between architects and architectural drawings. Through a comparative analysis of this intermediate space with the psychoanalyst Donald Winnicott’s theory of the Transitional Object, the author considers his own relationship to perspective drawing and materializes this through the production of a drawing apparatus titled: the autobiographical hinge. Bilaterally, the conception of this drawing apparatus is founded on examples of visual art practice that challenge the repressive qualities of linear perspective, this includes the work of Penelope Haralambidou (2003); Lawrence Gowing (1965) and Marion Milner (1950). In a time of dissolved agency for the architect, this article presents a method through which to mine one’s own relationship to architectural drawing, through which a disturbance to those codified regimes occurs as a consequence of one’s own subjectivity being recognized.
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Putra, Yvette. "Digital cosmopoiesis in architectural pedagogy: An analysis through Frascari." Drawing: Research, Theory, Practice 4, no. 2 (November 1, 2019): 185–200. http://dx.doi.org/10.1386/drtp_00002_1.
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Abstract This article derives from three observations of architectural drawing: the current ubiquitousness of digitization, the ongoing disputation of digitization in architectural pedagogy and the capacity of architectural drawing to simultaneously represent and communicate qualities of tangibility and intangibility. In its analysis, this article refers primarily to the writings of Marco Frascari (19452013), who was, through works such as Eleven Exercises in the Art of Architectural Drawing (2011), a strong critic of digital drawing. This article begins with an overview of the effects of digitization on architectural drawing, which are summarized in terms of their deleteriousness on the intangible qualities of architectural drawing, as seen predominantly in perspectives and sketches. This article then defines intangibility in architectural drawing and locates it within Frascari's theory of cosmopoiesis, and identifies marks, entourage (especially human entourage) and narrative as key elements of cosmopoiesis in architectural drawing. Finally, this article analyses the effects of digitization on architectural drawing from the standpoint of cosmopoiesis, with an emphasis on the key elements that were identified earlier, before concluding with some recommendations for preserving cosmopoiesis when drawing in a digital environment. This article holds that, in architectural pedagogy, a complete return to analogue drawing is neither feasible nor necessary because what is required instead is an awareness of the main areas in which digital drawing is most likely to fail, so that digital drawing retains the cosmopoietic qualities that characterize some examples of analogue drawing. This article argues that an understanding of the cosmopoiesis of architectural drawing is vital to transcending the apparent incompatibility of intangibility and digitization.
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Meseldzija, Hristina. "From invariance to difference: architectural drawing in the digital age between structuralism and post-structuralism." Facta universitatis - series: Architecture and Civil Engineering 20, no. 1 (2022): 101–14. http://dx.doi.org/10.2298/fuace220515009m.
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Radical changes in architectural thinking resulted in shifting the role of drawing in the architectural design process. This paper examines the act of reading the architectural drawing in contemporary design practice. Focusing on the field of humanities, this paper aims to define different perspectives of understanding and interpreting the work of drawing. Various positions of contemporary architectural drawing can be traced by following two parallel lines of development, whose theoretical settings are still important and relevant in the present-day. These pathways share their common ground in Ferdinand de Saussure?s setting of linguistic theory from the late nineteenth century. Architects engaged in the academic work, as well as practitioners, showed great interest for philosophy and new philosophical practices, which later contributed in re-examining the architectural discipline and establishing a new theoretical framework. In the 1960s, due to a change in the architectural paradigm caused by the current anthropocentrism and the breakthrough of the humanities into the architectural discipline, architecture articulated its own trends, building on the premises of French philosophers. The rising interest for philosophers who based their doctrines on the development of linguistic theory generated two overriding methodological directions - structuralism, with a focus on the idea of establishing universal internal structures as cultural foundations, and poststructuralism - as its critique, which shifts focus to radical articulation of the specificity of individual elements. Considering the terms invariance and difference as the basic concepts, the subject of analysis of this paper is an architectural drawing which in the contemporary architectural education as the most meritorious field of research in architectural design, occupies different forms and enjoys manifold interpretations in different contexts.
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Oukawa, Carolina. "Potentialities of drawing from observation in architectural analysis based on an analysis of the Copan building." Estoa, no. 15 (2019): 57–63. http://dx.doi.org/10.18537/est.v008.n015.a05.
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Observation drawing can be a central tool in architectural analysis. The starting point for reflection was the analytical path of Copan Building, icon of the architecture of São Paulo, designed in the 1950 by Oscar Niemeyer. One of the motivations of that research was the lack of architectural analysis as a discipline. In music, for example, structural disciplines (Harmony, Counterpoint and Musical Perception) lead to Musical Analysis discipline, which combines reading sheet music, listening to recordings and executing the play itself. Similarly, in architecture, observation drawing made in loco can be a tool of recognition of space. In Copan analysis, besides graphical analysis (the closest one still can get from an architectural analysis procedure) successive visits to the building were made. Observation drawing proved to increase spatial perception and, above all, led to discoveries about the work.
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Nash, Joshua. "Architectural Pilgrimage." Transfers 5, no. 2 (June 1, 2015): 121–28. http://dx.doi.org/10.3167/trans.2015.050208.
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Architectural pilgrimage is implicitly appreciated in architecture and design circles, especially by students who are encouraged to “travel to architecture,” with the focus on the Grand Tour as a means of architectural exploration. However, the expression has not been made explicit in the fields of architectural history, pilgrimage studies, tourism research, and mobility studies. I explore how pilgrimage to locations of modern architectural interest affects and informs pilgrims' and architects' conceptions of buildings and the pilgrimage journey itself. Drawing initially on a European architectural pilgrimage, the personal narrative highlights the importance of self-reflection and introspection when observing the built environment and the role of language in mediating processes of movement through and creation of architectural place-space.
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Gould, Polly. "Model interpretations of archival drawings." Architectural Research Quarterly 23, no. 2 (June 2019): 100–104. http://dx.doi.org/10.1017/s1359135519000241.
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The exhibition ‘Alternative Histories’ was a collaboration between the Architectural Foundation, the Drawing Matter archive, and curators Jantje Engels and Marius Grootveld, in which over eighty contemporary architectural practices were invited to make an architectural model in response to an historical architectural drawing.
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Pilsitz, Martin. "Drawing and Drafting in Architecture Architectural History as a Part of Future Studies." Periodica Polytechnica Architecture 48, no. 1 (August 10, 2017): 72–78. http://dx.doi.org/10.3311/ppar.11310.
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Architectural historians take an academic interest in past architectural styles and techniques. The actual value of the exploration of the past is to design, from the knowledge gained, a possible image of the future. Consequently, architectural history becomes a part of the futurology. In this context, the first questions are in regard to the fundamental skills of architects. How does work drafting in the architecture? What future presentation methods could be applied? The following article takes a critical look at factors that may influence solutions in the field of drafting in the future, such as the inclusion of the public in the dialogue of the drafting process. This could lead to a discussion about the current didactic for the teaching of drafting and architectural history at universities. Architectural history currently creates a rigid corset for the concepts of styles and for different time frameworks. Is this approach still up-to-date at all? Because of the current teaching method, the vocabulary predominantly originates from the history of art. Accordingly, large numbers of lexical facts are taught and requested, but are there other options available? Against the background of current developments, the question arises: whether architects and architectural historians should not become emancipated and develop, for subject-related issues, their own linguistic forms of expression? If this approach were to be taken into consideration, the knowledge gained and the practical benefits from these studies would be a multiple for the everyday work of prospective architects. As a result, the future of architecture would obtain its own past.
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Perin, Gavin, and Christopher Bowman. "Movement in Architecture." International Journal of Creative Interfaces and Computer Graphics 7, no. 2 (July 2016): 25–38. http://dx.doi.org/10.4018/ijcicg.2016070103.
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The digital processing of three-dimensional movement data often leads to instrumental design methods. This problem-solution design paradigm limits spatial design practices because they do more than solve singular problems. The question is whether spatial design practice can exploit the mediating effects of hardware and software. Robin Evans' essay ‘Translations from Drawing to Building' argues that architecture needs to embrace the mediating effects of the drawing. To this end digital motion capture systems open numerous new mapping and diagramming techniques. The unique condition sponsored by movement data is that architecture must find new ways of drawing the relationship between drawing, data and experience. These new drawings also open numerous issues around the representational and formal opportunities raised by movement capture technologies. Accordingly, the architectural exploration of movement data needs to assess the basis by which all design disciplines can approach movement data through generative rather than instrumental design acts.
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Agrafiotis, P., G. Talaveros, and A. Georgopoulos. "ORTHOIMAGE-TO-2D ARCHITECTURAL DRAWING WITH CONDITIONAL ADVERSARIAL NETWORKS." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 11–18. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-11-2023.
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Abstract. Vectorization of orthoimages of Cultural Heritage sites requires a considerable amount of time and constant supervision by qualified professionals. In addition, this 2D architectural drawing creation requires expert knowledge for appropriate interpretation of the orthoimages. In this paper, the use of conditional adversarial networks as a solution to orthoimage-to-drawing translation problems is proposed. The presented work exploits a state of the art conditional Generative Adversarial Network with a Markovian discriminator and modifies it using a ResNet fully convolutional network as generator in order to deliver reliable and accurate 2D architectural drawings in a binary image format. Following the 2D drawing image generation, their automated conversion into vector files is performed through a vectorization function, giving also the possibility to edit and scale the edges. Experimental results over two different Cultural Heritage test sites demonstrates that this approach is highly effective at synthesising 2D architectural drawings from orthoimages in great detail and reliability by learning the interpretation performed by the expert architects during the vectorization process.
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Belgorodskaya, Elena, Viktor Korenek, and Raisa Korenek. "ANALYTICAL APPROACH IN DRAWING IN ARCHITECTURAL EDUCATION." Problems of theory and history of architecture of Ukraine, no. 21 (May 2021): 196–204. http://dx.doi.org/10.31650/2519-4208-2021-21-196-204.
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Drawing is one of the vital tools of creative process for an architect. It helps to generate an idea. Work on image of a future building starts with it. Teaching drawing is one of the most important stages in comprehensive specialized training of architecture students. So the purpose of this article is the essence of analytical approach in drawing. And its tasks are to analyze basic types of drawing, to reveal the essence of shape making and analytical approach in drawing in architects; to uncover the meaning of basic methods of constructive drawing; to outline the place of constructive drawing in development of an architect’s professional competencies. Techniques for creating a shape of an object on a plane largely depend on its structure. Therefore, when analyzing a shape of an object, one should start with an insight into the essence of its inner structure, disregarding small details, which prevent one from understanding geometric base of its construction. This will enable students to get more comprehensive information about the object and to create a drawing deliberately. Construction in fine arts means the essence, distinguishing feature of a structure of any shape, implying interrelation of parts in the whole and their correlation. When analyzing basic types of drawing in our research, we study linear constructive (linear) drawing, linear constructive drawing with conditional light-and-shadow, light-and-shadow drawing, tonal drawing. Teaching architecture students academic drawing should be based on structural constructive drawing, also known as linear constructive drawing. Key task in teaching drawing is to learn to see three-dimensional shape of an object correctly and to be able to depict it in a logical sequence on a plane of a sheet of paper. Shape of an object shall mean geometric essence of the surface of the object, characterizing its exterior. Hence, any object is a shape, and a shape means volume. Shape modelling suggested by A. P. Chistov is based on the following methods: modelling of a complex shape (Boolean modelling), polygonal modelling, curve modelling (spline modelling), tonal modelling, symmetrical shape modelling, and dynamic modelling.
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Marjanović, Igor. "Lines and words on display: Alvin Boyarsky as a collector, curator and publisher." Architectural Research Quarterly 14, no. 2 (June 2010): 165–74. http://dx.doi.org/10.1017/s1359135510000771.
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In 1983, the Architectural Association (AA) School of Architecture mounted an exhibition of Zaha Hadid's work titled Planetary Architecture II. An image from this event shows Hadid as she points to one of the drawings on the wall surrounded by a group of listeners. The interior is saturated with drawings. As they unfold before the viewer, the drawings blur the boundaries between walls, floors and ceiling. An interior space wrapped in drawing, orchestrated by the exhibitor, the image of this show is nevertheless also an expression of the pedagogical ideas of Alvin Boyarsky, the chairman of the AA school between 1971 and 1990.
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Paans, Otto. "Within the Space of Drawing: Lines and the Locus of Creation in Architectural Design." Journal of Research in Philosophy and History 7, no. 1 (January 23, 2024): p36. http://dx.doi.org/10.22158/jrph.v7n1p36.
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This paper considers the practice of drawing lines in the context of architectural design. The core argument is that drawing lines generates the conditions for creative thought. Moreover, this initial claim is discussed in the context of the creative process in architectural design, as lines play an indispensable role in the locus of creation. First, the so-called “representational paradigm” about hand drawing is critically discussed, leading to the exposition of a new philosophical account regarding drawing. This new position consists of three theses: (I) it regards the drawing surface as a topos or “space of drawing”; (II) it regards drawings as situated figurations; (III) and it regards lines as processes. Jointly, these three theses form the “performative paradigm”, casting each aspect of the drawing process in terms of an unfolding dynamic in which inhabitative imagination and aesthetic sensibility play decisive roles. Lastly, these conclusions are formalized in a design model.
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Castilla, Manuel V. "The Cultural Heritage of Architectural Linear Perspective: The Mural Paintings in Nantang Church." Heritage 4, no. 3 (August 13, 2021): 1773–85. http://dx.doi.org/10.3390/heritage4030099.
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This paper presents a contextual use of the innovative drawing techniques that involved architecture and painting in the Qing court during the first half of the eighteenth century. At this point architectural linear perspective in painting (quadratura) and stage design had become common fields of experimentation for the Chinese and Jesuit artists missionaries. In this conceptual context, Western quadratura was developed in China by Giovanni Gherardini. (1655–1729), and especially by Giuseppe Castiglione (1688–1766), who is remembered as an extraordinarily versatile architect–painter. The focus of this paper is on the “illusory mural paintings of architectural perspective in Nantang Church” (Beijing), which has now disappeared, and which spread the influence of the Western Renaissance. The imported Western linear perspective and the fundamentals of architectural drawing facilitated the systematization and dissemination of the quadratura as an unknown technique in China. Based on the text described by the contemporary scholar Yao Yuan Zhi, an original interpretation of the architectural perspective mural paintings in Nantang Church is proposed. These paintings provide an important case study of Sino-European collaboration in the eighteenth century from different points of view: the representation of the light in drawings and the fact that the concept of shadow in some respects was unknown to the Chinese artist.
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Amado Trancoso, Mariana, and Bárbara Coutinho. "Calligraphy of the thought: Drawing and writing in Vittorio Gregotti." Drawing: Research, Theory, Practice 6, no. 2 (December 1, 2021): 333–44. http://dx.doi.org/10.1386/drtp_00068_3.
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This paper focuses on the close correlation between drawing and writing in the architecture of Vittorio Gregotti, in order to understand how both constitute symbiotic tools for his praxis, and showing how the practice of architecture and theoretical thought in Gregotti are to be understood as one. Drawing and writing constitute inscriptions of his ideas, a calligraphy that expresses his understanding of architecture as a conceptual reality, regardless of its later physical construction. It is therefore essential to comprehend how theoretical thought in Gregotti is materialized in the architectural project. For this purpose, based on Gregotti’s drawings and writings, this paper aims to underline the deep importance of drawing and writing as complementary processes related to the symbiotic connection between theory and praxis in his work. Considering both tools as a mechanism for visualizing the author’s ideas, we intend to prove that drawing and writing are close components of his expression and the development of a thought that, in the process of being materialized, acquires physical shape, strength and coherence, becoming perceived by others.
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Schmitt, Gerhard, Florian Wenz, David Kurmann, and Eric van der Mark. "Toward Virtual Reality in Architecture:Concepts and Scenarios from the Architectural Space Laboratory." Presence: Teleoperators and Virtual Environments 4, no. 3 (January 1995): 267–85. http://dx.doi.org/10.1162/pres.1995.4.3.267.
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Virtual reality is the logical step that started way back in time with the appearance of the very first architectural drawing. This has been a long history of development: architectural drawings in Europe, which date back to the tenth century, were the first kind of abstraction that appeared “virtually real” to potential clients and builders—real enough to base decisions on. With the discovery of perspective techniques, drawings became more refined and developed into a form of art with numerous branches, ranging from technical drawings to presentation drawings. Wooden models appeared even before the Renaissance and were supplemented in the nineteenth century with cardboard models. Each new invention helped to improve the understanding of projects and architecture by reducing abstraction, while increasing the complexity of the representation (Schmitt, 1993). Toward the end of the twentieth century, the majority of architectural projects were and are never realized. Prominent projects, such as the new Berlin Government Centre, result in several hundred professional competition entries. With the advent of virtual reality (VR) techniques, architects will at first intensely criticise the new technology, before adopting and improving it, and they will modify it with domain specific contributions. The knowledge of architectural abstraction and simulation is useful to the further development of VR and vice versa. Today, the newest methodological and technical instruments help designers to create a more responsible architecture, many aspects of which can be experienced and tested before construction. This includes the possibility of expanding the number of senses addressed for the explanation of an architectural idea. To structure the discussion about VR in architecture, we first describe the theoretical framework, then move to the description of a Architectural Space Laboratory at the Architecture Department of the Swiss Federal Institute of Technology, ETH Zürich, and follow this with examples of program development. We conclude with speculations on the impact of the new technology on the architecture of the future.
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Usman, Bakhrani Rauf, and Darmawang. "The Influence of Learning Styles and Supporting Factors on Academic Performance of High-achieving Students." Asian Journal of Education and Social Studies 50, no. 7 (July 6, 2024): 617–26. http://dx.doi.org/10.9734/ajess/2024/v50i71492.
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This study aimed to develop and evaluate AutoCAD digital learning media using the 4D Research and Development (R&D) method. The method consists of four stages: Define, Design, Develop, and Disseminate, with the goal of improving students' architectural engineering drawing skills. The study involved 21 architecture students who participated in the pre-test and post-test to assess the effectiveness of the developed learning media in improving their architectural engineering drawing skills. The media development process involved several stages, including needs analysis and instructional design. The final stage involved creating interactive digital content that is relevant to the needs of modern students. The effectiveness of the learning media was evaluated through an experimental design involving a group class. The evaluation consisted of a pre-test and post-test to assess the improvement in students' architectural drawing skills. The results revealed a significant increase in post-test scores compared to the pre-test, indicating that the digital learning media was effective in enhancing students' architectural drawing skills. Students provided positive feedback on the interactivity and practicality of the learning media, indicating their satisfaction with the learning experience. The study's findings confirm the significant potential of digital learning media in architecture education. Furthermore, the study suggests that there is a need for further integration of digital technologies in the architecture curriculum to enhance learning outcomes. Future research should focus on larger scale testing to validate the effectiveness of the digital learning media. Additionally, content development should cover a wider range of architectural design aspects to ensure the learning media remains relevant and comprehensive. Future research directions could include exploring the long-term retention of skills and investigating the impact of different instructional approaches on learning outcomes.