Expresión gráfica arquitectónica no dibujada: una aproximación digital (original) (raw)

Architectural Graphic Expression not Drawn: A Digital Approach (2018)

Architectural Draughtsmanship. From Analog to Digital Narratives, 2018

Architectural Drawing and Architectural Graphic Expression (EGA) are well defined and known disciplines. But there are forms of architectural expression (such as photography or diagrams), which are not necessarily “drawings”. In the last three decades, digital technology has offered architecture multiple forms of expression (digital photography, vector models, CAD), and has proposed multiple forms of structuring and organizing data (data modeling techniques, associative data models, database systems, etc.). The arrival of these data technologies to graphic expression requires the need to look at architecture from the point of view of data.

Graphical Analysis 2.0: Digital Representation for Understanding and Communication of Architecture

El Arquitecto, de la Tradicion al Siglo XXI (pp. 385-394), 2016

Aim of the paper is to present how new technologies favor the " Graphical Analysis " process, i.e. the historical critical study of the architectural heritage through its representation .. The growth of digital technologies has affected disciplines involved in architectural studies, and computer based visualization has found in digital modeling an interpretative instrument for architectural heritage study and representation. 3D models can support a renewal of the graphical analysis and, from an educational point of view, the development of critical skills for understanding and communication of architectural characteristics. Background: The Concept of Graphical Analysis Vincenzo Fasolo, teacher of Drawing from the first decade of the twentieth century, and professor of " History and Styles of Architecture " at the School of Architecture of Rome from 1925, in 1954 published his essay titled " Guida metodica per lo studio della storia dell'architettura " [Methodological guide for the study of architectural history] (Fasolo 1954). In this book drawing plays an essential role, implicitly intended as a methodological tool for the analysis, comparison, and interpretation of the architectural characteristics and values of historical buildings. He opens his book with the following words: «The publication of the summary of the subject of the Courses of History and Styles of Architecture aims to guide young architects in reordering the graphic notes in which, according to the method adopted during the course, their observations, bibliographical research, interpretation are concretized» (p.5). He highlights how sketches and drawings made tangible the students' reflections and understanding; also the bibliographical research seems to be based on graphical notes, i.e. on the representation of buildings. And he points out how the graphical language is the way for the visualization and communication not only of geometric characteristics, but of architectural values. He lists the following values: «Harmonic, modular, geometric, mathematical values; geometrical synthesis; linear, two-dimensional (relationship between solid and voids), three-dimensional (volumes – masses) values; interpenetration of previous systems; spatial values (light – colors); the fourth dimension: time and perspective view; decorative spaces; elements of harmony: unity, rhythm, eurhythmics, symmetry, dissymmetry, contrast – opposition» (p.10-11). We don't aim to comment on this list, but we underline how Fasolo wanted to train students to look critically at the architecture, and to understand its values. To reach this purpose, drawing is intended as an ineludible tool. And he adds: «[…] Observation and interpretation of monumental characteristics is entrusted to the young architect through a graphical summary. We demand that he practically translates into drawings those that are the elements or characteristic and essential factors and of the architecture that he is studying. Not " copies " more or less brilliantly and nicely drawn from photographic models, like the real, as at the first time one is tempted to do, for a bad interpretation of the goals of these drawn observations, instead they have to show how much and what part in the study of the program the young student has had» (p.11): Nowadays we – in CAD used – should say: Models not only to realize photorealistic copies, but to achieve analytical, critical, and thematic visualizations.

Traditional and digital representation as languages to analyse and design architecture

2012

If we think to the relationship, or rather to the state of necessity, which unites the architectonic figuration with the survey and the project, we can easily explain the interests that have characterized the evolution of methods and geometric rules for representing: the architectonic forms and the frameworks that we know come up as a consequence of the operative necessities of representation and geometric rules, in the sense that those forms and frameworks properly belong to the universe of their possibilities. The computer language can have the same role that the traditional representation has had in the past, namely it can help the generation of architectonic forms, becoming an active factor both for the creation of new dispositions for the projects both for the definition of new research methodologies, or of methodologies, canonical for the digital representation.

Architectural Composition in Digital Space

Faculty of Architecture, Technical University of Bialystok, Poland Abstract. In this paper the possibilities of using the computers at course of architectural compositions are considered. As the start point of the new teaching method of architectural composition we used the course of tradition architectural composition, elaborated at our Faculty. The course of Digital Architectural Composition was finished in 2002. The main goal of using the new digital media for modelling architectural forms was checking the new possibilities of form creation. Traditionally, searching of forms at the conceptual design stage is performed by using sketches, drawings and physical models. Our new method showed that is possible to do the same thing using the computerbased 3D modelling, experiencing no physical limitations of the 'real' substance. At the same time, at the early design stages, when formal value is sought, computer modelling can be done almost intuitively. In ours work we try to fi...

DIGITAL DESIGN METHODS IN ARCHITECTURE

PhD Thesis "The Paradigm of Complexity in Architectural and Urban Design", 2017

The text describes main digital design tools and strategies in the contemporary context, grouping them into three main categories-representational methods, parametric methods and generative methods. The objective is to offer a clear and didactic text that helps to understand the foundations of digital architecture, showing its influence on the conception and development of the architectural project.

Design space as synthesis of architecture and painting with the use of digital technology

2014

The article discusses the use of computer technology tools for digital painting to achieve the synthesis of art, architecture and design. Noted that in search of architectural projects shown synthesis of Fine Arts, in the form of plastic and color computer processing of architectural elements, pictorial images, photographs, sculptural forms. The method used associative color-graphic transformation of natural forms, the project creates unusual shapes that meet current environmental concepts. It is shown that a computer architect - artist is engaged interesting creative process , embodying the idea of future works , creates virtual drawings , sketches , designs, using new electronic technologies in the field of visual works, promoting convergence and their penetration into modern art. (Pomorov S.B., Prokhorov S.A., Sidorov V.A., Stepanskaya T.M. Design space as synthesis of architecture and painting with the use of digital technology. Life Sci J 2014;11(12s):365-370) (ISSN:1097-8135)....