WithDrawing: An Investigation into How the Iterative Process of Hand Drawing Can Influence the Design of Buildable Architectural Spaces That Are Responsive to the Contemporary Blurring of Traditional Programs, Typologies, and Contextual Conditions

<p>In the early 21st century environmental, social and cultural changes are confronting the traditional relationship one has with technology, space and subsequently architecture. More specifically the tools of design are becoming integrated, whereby the clarity of tradition is becoming overlapped, becoming blurred. With this in mind the research investigates the opportunities of an iterative hand drawing process to develop architectural responses to movement, time and transformation. Highlighting a future which is inevitably changing, it is important to assess the inherent qualities of our design tools, as they too influence the connection and formation of architectural space. The research explores hand drawing through a design process which firstly, challenges drawn representation techniques and secondly, emphasises movement and transformation as key architectural drivers within the 21st century. Due to the continual developments within technology, construction practices and design materials, there is an opportunity to question and reflect our changing built environment and hence, the role of movement in architecture. With reference to the theorists Catherine Ingraham and Robin Evans, the research develops the position that the practice of architecture has become restricted by linear ordering systems. This is reflective in the orthographic representation of architecture alongside the built edges and boundaries of architectural spaces. Therefore, today's transforming conditions are used to validate and further articulate Ingraham's and Evans's theories, outlining a design response, using Wellington as a case study, built upon overlaying environmental, social and cultural relationships. The architectural outcome connects rather than dissociates itself to transforming conditions, creating multiple rather than singular boundary conditions through architectural blurring. Traditional relationships to spatial boundaries and edges are critiqued through the ambiguities and layers of working within an iterative hand drawing process. The influence of hand drawn qualities has provided a way to insert motion into a construct which is perceptually static, hence introducing a means to negotiate and work within a period of transition.</p>

WithDrawing: An Investigation into How the Iterative Process of Hand Drawing Can Influence the Design of Buildable Architectural Spaces That Are Responsive to the Contemporary Blurring of Traditional Programs, Typologies, and Contextual Conditions

<p>In the early 21st century environmental, social and cultural changes are confronting the traditional relationship one has with technology, space and subsequently architecture. More specifically the tools of design are becoming integrated, whereby the clarity of tradition is becoming overlapped, becoming blurred. With this in mind the research investigates the opportunities of an iterative hand drawing process to develop architectural responses to movement, time and transformation. Highlighting a future which is inevitably changing, it is important to assess the inherent qualities of our design tools, as they too influence the connection and formation of architectural space. The research explores hand drawing through a design process which firstly, challenges drawn representation techniques and secondly, emphasises movement and transformation as key architectural drivers within the 21st century. Due to the continual developments within technology, construction practices and design materials, there is an opportunity to question and reflect our changing built environment and hence, the role of movement in architecture. With reference to the theorists Catherine Ingraham and Robin Evans, the research develops the position that the practice of architecture has become restricted by linear ordering systems. This is reflective in the orthographic representation of architecture alongside the built edges and boundaries of architectural spaces. Therefore, today's transforming conditions are used to validate and further articulate Ingraham's and Evans's theories, outlining a design response, using Wellington as a case study, built upon overlaying environmental, social and cultural relationships. The architectural outcome connects rather than dissociates itself to transforming conditions, creating multiple rather than singular boundary conditions through architectural blurring. Traditional relationships to spatial boundaries and edges are critiqued through the ambiguities and layers of working within an iterative hand drawing process. The influence of hand drawn qualities has provided a way to insert motion into a construct which is perceptually static, hence introducing a means to negotiate and work within a period of transition.</p>

A comparison between analogic and digital media in Engineering teaching

Form representation is essential for any area that involves the creation of artefacts, since without it the project is just an idea in the mental field. In general terms, it is the ability to perceive and understand shapes and represent them through perspectives and orthographic views, as well as through models and geometric models. Given the issues raised, it is possible to understand the importance of knowledge related to the graphic representation of architecture for professionals involved with the Aeco Industry (Architecture, Engineering, Construction and Operation) and, also the relevance of graphic geometry disciplines on the development of Visiographic Three-dimensional Capacity. So, this paper aims to investigate the impact caused by the use of traditional and digital media in the teaching of graphic representation. To this end, two groups of students were compared, one exposed to the use of both media - analogic and digital - and another that used just digital media. From the application of questionnaires, it was possible to identify the student’s profile, their preferences of media and difficulties encountered. The work presumes that students exposed to more disciplines of graphic geometry will have less difficulties compared to those who had less contact. The main results indicated that: there is a preference, in both groups, for digital media to perform practical activities; the need to adapt the content to each specific engineering and that the most significant difficulties were related to work management, regardless of the media used.

Between Dream Houses and “God’s Own Junkyard”: Architecture and the Built Environment in American Suburban Fiction

This study deals with the representation of architecture and the built environment in American suburban literature and film from the 1920s until present. It explores how the American suburb has developed into a place of non-architecture in both reality and fiction, focusing on topics such as architectural mass production, eclecticism and suburban sprawl.

Grunt i horyzont. Interpretacje nowoczesnej architektury i sztuki

The reflections from the years 2013-2020 concerning the theory and history of modern architecture as well as space and the representation of architecture in modern visual arts. The interpretations of selected architectural and art. Works are built around the notions borrowed from phenomenology (Hans-Georg Gadamer, Maurice Merleau-Ponty, Hermann Schmitz), Gestalt psychology (Rudolf Arnheim, Juliusz Żórawski), modern aesthetics of atmospheres (Gernot Böhme, Tonino Griffero) and theories of architecture related to it (Hubert L. Dreyfus, Alberto Pérez-Gómez, Peter Zumthor). The ground and the horizon, visual forces in architecture, transparency and clarity, edgeless space, atmospheres and moods, weirdness – these are the terms which facilitate experiencing works of architecture and art. Such as „L’Esprit Nouveau” – a pavilion built by Le Corbusier and Pierre Jeanneret around a tree (1925), a monument design “A Road to Żelazowa Wola” by Krystian Burda (1961) or “Cloud” – an installation by Jacek Damięcki (1994).

SPECIFITY OF HISTORICAL BUILDINGS AND BIM METHODOLOGIES. A FIRST EXPERIMENTATION FOR THE FEDERICO II HEADQUARTERS IN NAPLES

<p><strong>Abstract.</strong> The <i>Building Information Modeling</i> is today one of the most advanced data cataloging and processing systems aimed to the digital representation of physical and functional characteristics of an object. These prerogatives make possible to create a model containing not only the geometric-architectural data of the building, but also the properties of the materials and technical elements that compose it, the construction phases, as well as maintenance operations, locating and programming them over time. Such an approach implies, therefore, not only a change of instruments for the representation of Architecture, but above all a change of "mentality", in which the building is seen as a "unitary" organism with a synchronous vision between architectural form, structural elements, construction techniques, materials and installations. The experimentation here presented concerns the case of the university complex of Federico II of Naples along the axis of Via Mezzocannone. The urban palimpsest housing the monumental front of the building, designed by Eng. Pierpaolo Quaglia and Guglielmo Melisurgo at the end of the Nineteenth century, and incorporating ancient religious complexes built in the Fifteenth century, as the monasteries of Donnaromita and the Old Jesus; heterogeneous elements that allowed to explore on the field limits and the possibilities of interoperability of BIM in which still have ample possibilities for experimentation.</p>