Marco Frascari, Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect’s Imagination

The article analyses Frank Gehry’s insistence on the use of self-twisting uninterrupted line in his sketches. Its main objectives are first, to render explicit how this tendency of Gehry is related to how the architect conceives form-making, and second, to explain how Gehry reinvents the tension between graphic composition and the translation of spatial relations into built form. A key reference for the article is Marco Frascari’s ‘Lines as Architectural Thinking’ and, more specifically, his conceptualisation of Leon Battista Alberti’s term lineamenta in order to illuminate in which sense architectural drawings should be understood as essential architectural factures and not merely as visualisations. Frascari, in Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architects’s Imagination, after having drawn a distinction between what he calls ‘trivial’ and ‘non-trivial’ drawings—that is to say between communication drawings and conceptual drawings, or drawings serving to transmit ideas and drawings serving to their own designer to grasp ideas during the process of their genesis—unfolds his thoughts regarding the latter. The article focuses on how the ‘non-trivial’ drawings of Frank Gehry enhance a kinaesthetic relationship between action and thought. It pays special attention to the ways in which Frank Gehrys’ sketches function as instantaneous concretisations of a continuous process of transformation. Its main argument is that the affective capacity of Gehry’s ‘drawdlings’ lies in their interpretation as successive concretisations of a reiterative process. The affectivity of their abstract and single-gesture pictoriality is closely connected to their interpretation as components of a single dynamic system. As key issues of Frank Gehry’s use of uninterrupted line, the article identifies: the enhancement of a straightforward relationship between the gesture and the decision-making regarding the form of the building; its capacity to render possible the perception of the evolution of the process of form-making; and the way the use of uninterrupted line is related to the function of Gehry’s sketches as indexes referring to Charles Sanders Peirce’s conception of the notion of ‘index’.

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Representation of a Human Body: A Comparison Study between Balinese and Javanese Traditional House

Humaniora ◽

10.21512/humaniora.v11i2.6408 ◽

2020 ◽

Vol 11 (2) ◽

pp. 83-90

Author(s):

Anak Agung Ayu Wulandari ◽

Ade Ariyani Sari Fajarwati

Keyword(s):

Comparative Study ◽

Human Body ◽

Qualitative Method ◽

Descriptive Analysis ◽

The Body ◽

Comparison Study ◽

Architectural Drawing ◽

Study Approach ◽

The Comparative Study ◽

Head Area

The research would look further at the representation of the human body in both Balinese and Javanese traditional houses and compared the function and meaning of each part. To achieve the research aim, which was to evaluate and compare the representation of the human body in Javanese and Balinese traditional houses, a qualitative method through literature and descriptive analysis study was conducted. A comparative study approach would be used with an in-depth comparative study. It would revealed not only the similarities but also the differences between both subjects. The research shows that both traditional houses represent the human body in their way. From the architectural drawing top to bottom, both houses show the same structure that is identical to the human body; head at the top, followed by the body, and feet at the bottom. However, the comparative study shows that each area represents a different meaning. The circulation of the house is also different, while the Balinese house is started with feet and continued to body and head area. Simultaneously, the Javanese house is started with the head, then continued to body, and feet area.

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The Fits-Like-A-Glove model and destination activities of Slow Food members

Current Issues in Tourism ◽

10.1080/13683500.2014.909389 ◽

2014 ◽

Vol 18 (3) ◽

pp. 286-290 ◽

Cited By ~ 4

Author(s):

Kuan-Huei Lee ◽

Noel Scott ◽

Jan Packer

Keyword(s):

Slow Food

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Critique of the culinary reason

Semiotica ◽

10.1515/sem-2016-0097 ◽

2016 ◽

Vol 2016 (211) ◽

pp. 165-186

Author(s):

Massimo Leone

Keyword(s):

Main Concern ◽

Cultural Meaning ◽

Social Phenomena ◽

Common People ◽

Slow Food ◽

The World ◽

Quality Of Food ◽

The Way

AbstractPresent-day economically developed societies devote unprecedented attention to food. The culinary discourse, in all its facets, gains increasing centrality in cultures. Institutions, media, and common people are obsessed with what they eat. In Italy, a country already aware of itself with regards to food, gastronomy turns into the main concern, the most debated and cared of system of norms. Social phenomena like Slow Food and Zero Kilometer originate in Italy and then conquer the world, claiming that improving the quality of food is the way for a better planet. But what is the deep cultural meaning of this massive trend? What lies behind the culinary reason? Aesthetic neutralization of socioeconomic conflicts, chauvinistic marketing of stereotypes, and anti-intellectual subversion of sensorial hierarchies, the article contends.

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Terra Madre 2006: Political Theater and Ritual Rhetoric in the Slow Food Movement

Gastronomica The Journal of Food and Culture ◽

10.1525/gfc.2008.8.2.31 ◽

2008 ◽

Vol 8 (2) ◽

pp. 31-39 ◽

Cited By ~ 11

Author(s):

adrian peace

Keyword(s):

Political Theater ◽

The Political ◽

Slow Food ◽

Political Spectacle ◽

The Core ◽

Global Character ◽

Secular Rituals ◽

The Many ◽

Mega Event ◽

Food Movement

The biannual mega-event of Terra Madre is now established as the political flagship of the Slow Food movement. It assembles in Turin the leading cosmopolitan figures of this neo-tribal, post modern organization, along with several thousand of its ordinary members, who were drawn in 2006 from the ranks of food producers, cooks and academics. The most significant secular rituals of Terra Madre involve the theatrical celebration of its global character, beginning with the assembly of representatives from some 1600 ““food communities”” distributed throughout the world. Equally important are the many smaller scale activities in which the details of the movement's politics are articulated and embellished, at times in strikingly rhetorical ways. In this paper, which is based on ethnographic research, the theatrical and rhetorical qualities of Terra Madre as a political spectacle are explored in some detail. It is argued, in conclusion, that what is inadvertently exposed are some of the political myths which lie at the core of the Slow Food movement's contemporary philosophy.

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Breast-feeding: part of the slow food movement?

Public Health Nutrition ◽

10.1079/phn20061002 ◽

2006 ◽

Vol 9 (6) ◽

pp. 667-668 ◽

Cited By ~ 1

Author(s):

Marilyn Tseng

Keyword(s):

Breast Feeding ◽

Slow Food ◽

Food Movement

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Überlegungen zu einer neu entdeckten Architekturzeichnung Michelangelos

Architectura ◽

10.1515/atc-2019-1002 ◽

2019 ◽

Vol 49 (1) ◽

pp. 24-44

Author(s):

Otfried Garbe

Keyword(s):

Square Root ◽

Reading Room ◽

Architectural Drawing ◽

Triangular Structure

Abstract The author presents a newly discovered architectural drawing which shows one of the two identical portals in the reading room of the Biblioteca Laurenziana in Florence. The drawing is attributed to Michelangelo by the author and compared with two other drawings by the artist, one of which connects the Cloister with the vestibule of the Library and another that leads from the vestibule to the reading room. The present drawing has close visual similarities with both the drawings generally accepted as Michelangelo’s. However, it is distinguished by a double pediment that combines a triangular structure with a rounded one. In addition, it is designed in a perspectival manner that takes into account the depth of the opening and of its pediment. All three drawings have the same overall proportions, corresponding to the ›divina proportione‹. The openings in the three drawings have a quotient that is identical with the square root of five. The handwriting within the opening appears to be identical with Michelangelo’s hand.

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‘Architectural literacy’: Functions of architectural drawing

Drawing Research Theory Practice ◽

10.1386/drtp_00052_3 ◽

2021 ◽

Vol 6 (1) ◽

pp. 83-97

Author(s):

Robin Schaeverbeke ◽

Hélène Aarts

Keyword(s):

Knowledge Base ◽

Teaching Practices ◽

Artistic Expression ◽

Large Field ◽

Architectural Drawings ◽

Architectural Drawing ◽

Reflective Conversation

‘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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