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Journal articles on the topic 'Architecture drawing'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Murray, Shaun. "Drawing architecture." Design Ecologies 11, no. 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

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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 (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 projec

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Spiller, Neil. "The Magical Architecture in Drawing Drawings." Journal of Architectural Education 67, no. 2 (2013): 264–69. http://dx.doi.org/10.1080/10464883.2013.817173.

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4

Perin, Gavin, and Christopher Bowman. "Movement in Architecture." International Journal of Creative Interfaces and Computer Graphics 7, no. 2 (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

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Perin, Gavin John, and Linda Matthews. "Organizing Architectural Atmospheres." International Journal of Creative Interfaces and Computer Graphics 10, no. 1 (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 altera

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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 (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

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7

Cooke, Timothy, and Andrew Ferentinos. "Beginnings: Drawing Early Architecture." Thresholds 42 (January 2014): 26–37. http://dx.doi.org/10.1162/thld_a_00074.

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8

Unwin, Simon. "Analysing architecture through drawing." Building Research & Information 35, no. 1 (2007): 101–10. http://dx.doi.org/10.1080/09613210600879881.

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9

Hill, Jonathan. "Drawing forth immaterial architecture." arq: Architectural Research Quarterly 10, no. 01 (2006): 51. http://dx.doi.org/10.1017/s135913550600011x.

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10

Goffi, Federica. "Drawn to Design. Analyzing Architecture Through Freehand Drawing." Journal of Architectural Education 69, no. 1 (2015): 124–26. http://dx.doi.org/10.1080/10464883.2015.989018.

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11

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 t

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Schaeverbeke, Robin, and Hélène Aarts. "‘Architectural literacy’: Functions of architectural drawing." Drawing: Research, Theory, Practice 6, no. 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

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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 SketchU

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14

Spurr, Sam. "Drawing the Body in Architecture." Architectural Theory Review 14, no. 3 (2009): 322–32. http://dx.doi.org/10.1080/13264820903341670.

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15

Amado Trancoso, Mariana, and Bárbara Coutinho. "Calligraphy of the thought: Drawing and writing in Vittorio Gregotti." Drawing: Research, Theory, Practice 6, no. 2 (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 architect

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Fidyati, Fidyati. "IMPROVING ARCHITECTURE STUDENTS’ ENGLISH VOCABULARY THROUGH THE USE OF ARCHITECTURAL DRAWINGS." Englisia Journal 5, no. 2 (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 th

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Borde, Andréa de Lacerda Pessôa, and Alexandre Pessoa. "‘Pandemic drawings’: Are we still teaching conceptual drawing?" Drawing: Research, Theory, Practice 6, no. 2 (2021): 377–90. http://dx.doi.org/10.1386/drtp_00072_1.

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In this paper we analyse the impact of the COVID-19 measures on teaching the conceptual drawing course at the Architecture and Urbanism Faculty of the Federal University of Rio de Janeiro (FAU/UFRJ). The remote model of teaching followed from July 2020 determined many changes in our methodology, these being essentially practical rather than theoretical. This adaptive process resulted in what we called ‘pandemic drawings’, proved to be a useful tool for expanding drawing skills and confined senses. The outcomes were surprisingly positive and pointed out that these ‘pandemic drawings’ could beco

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18

Marjanović, Igor. "Lines and words on display: Alvin Boyarsky as a collector, curator and publisher." Architectural Research Quarterly 14, no. 2 (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

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19

Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 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 corpor

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Seryagin, Sergey N. "Unknown Drawing by Nikolay Gogol." Two centuries of the Russian classics 3, no. 2 (2021): 6–15. http://dx.doi.org/10.22455/2686-7494-2021-3-2-6-15.

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The author presents an unknown drawing by N. V. Gogol, and offers a brief description of it. The honor of discovering the drawing belongs to the researcher of the Ulyanovsk Regional Museum of Local Lore Tatiana Alekseevna Gromova. Gogol's drawing was found in the handwritten memoirs of the Siberian landowner A. P. Rodionov, which do not have any artistic value, but contain a representation of some historical events. Based on the facts of Gogol's life, described by researchers, the author of the article determines the approximate date of the drawing, and also conveys its content. Gogol was retu

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21

Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (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 architectura

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22

Spier, Steven. "Dancing and drawing, choreography and architecture." Journal of Architecture 10, no. 4 (2005): 349–64. http://dx.doi.org/10.1080/13602360500285401.

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23

Walker, Stephen. "Gordon Matta-Clark: Drawing on Architecture." Grey Room 18 (January 2005): 108–31. http://dx.doi.org/10.1162/1526381043320787.

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24

Macken, Marian. "Binding Architecture: Drawing in the Book." Architecture and Culture 2, no. 2 (2014): 225–43. http://dx.doi.org/10.2752/205078214x14030010182146.

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Mohammad, Maria, Md Nasir Ibrahim, Mohamad Rusdi Mohd Nasir, Kasran Jiddin, and Mohamad Faisal Ahmad. "‘Study drawing’ in architecture graphic presentation style jomathir-hybrid ‘a+architecture’ drawing manually: Phenomenon three dimensional." International Journal of Social Sciences and Education Research 3, no. 4 (2017): 1104–11. http://dx.doi.org/10.24289/ijsser.312289.

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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 (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

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27

Schmid, Peter. "Architectural Drawings: Teaching and Understanding a Visual Discipline." Dimensions 1, no. 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 re

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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 o

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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 (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 dr

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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, re

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Kostic, Milos, and Vladimir Milenkovic. "Contemporary detail in zoom-in-zoom-out technique: God and scale." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 307–16. http://dx.doi.org/10.2298/fuace160712027k.

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Considering both the visual and narrative character of architectural discourse it is possible to examine the capacity of a drawing as an autonomous form, but also as one assigned to it throughout the course of creation of new architecture. This paper's intent is to examine the place and the role of the architectural drawing of the detail within design research. Thematically different, the narratives are instruments used for creating a relationship between the project as a whole and its parts, while the detail defines the path from an idea to the realization of architecture, that is, from abstr

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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 construct

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Machado e Moura, Carlos. "Luiz Cunha, “international but brief” [and pop!]." Joelho Revista de Cultura Arquitectonica, no. 10 (December 22, 2019): 41–63. http://dx.doi.org/10.14195/1647-8681_10_3.

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Luiz Cunha (1933-2019) is recognised for his singular and eclectic architecture, which stands out in the Portuguese context, as well as for his production as a highly skilled draughtsman and a passionate painter. His extensive body of work has received a certain attention and research and his production is read as part of a movement for the renovation of religious architecture, as an individual creative expression, or as part of a fantasist trend towards postmodern Portuguese architecture. Lesser attention, however, was devoted to his writings, drawings, unbuilt projects and unbuildable paper

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Eeckhout, Riet. "A flight of no substance, collapsing space in its wake." Design Ecologies 10, no. 1 (2021): 43–60. http://dx.doi.org/10.1386/des_00009_1.

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This article looks at ways in which architecture can be articulated as a sensation within the drawing. The subject of occupying drawings is considered here as a result of entering the drawing, an action John Hejduk describes ‘as a flight of no substance’, collapsing space between the observer and the artefact in its wake. entering the drawing and subsequently occupying the drawing is considered here as a phenomenon that enables experiential and observational proximity to an artefact and its embedded subject. The collapsing mechanism enforces thinking about the observational intent of this type

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35

Ortenberg, Alexander. "Joy in the Act of Drawing: Maybeck's Palace of Fine Arts." Journal of the Society of Architectural Historians 70, no. 1 (2011): 38–63. http://dx.doi.org/10.1525/jsah.2011.70.1.38.

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Joy in the Act of Drawing: Maybeck's Palace of Fine Arts focuses on Bernard Maybeck's working drawings for the surviving fragment of the 1915 Panama-Pacific International Exposition in San Francisco. Because it was originally designed as a temporary structure, it has been dismissed by some critics as the roughly detailed product of a speedy production process. However, Alexander Ortenberg shows that the working drawings were carefully produced in accordance with the professional standards of American Beaux-Arts architecture. What appear to be crude details were the product of thoughtful study,

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El-Gammal, Yasser. "ISOMETRIC DRAWING AND THE STUDENT OF ARCHITECTURE." Journal of Al-Azhar University Engineering Sector 13, no. 47 (2018): 584–97. http://dx.doi.org/10.21608/auej.2018.19042.

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ORMISTON, ROSALIND. "UNDERSTANDING ARCHITECTURE THROUGH DRAWING BY BRIAN EDWARDS." Art Book 16, no. 4 (2009): 68. http://dx.doi.org/10.1111/j.1467-8357.2009.01064_2.x.

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Gallov, Gabor. "Observations on Drawing: The Art of Architecture." Architectural Design 89, no. 6 (2019): 52–57. http://dx.doi.org/10.1002/ad.2501.

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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 lo

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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 (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

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Wilkinson, Daniel. "The sculptor-architect: In rêverie." Design Ecologies 10, no. 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 in

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Suryono, Alwin, Sudianto Aly, Amirani RS RS, Irma Subagyo, and Yasmin Suriansyah. "Gambar Terukur Konteks Pelestarian Arsitektur Masjid Ki Buyut Trusmi Cirebon." Review of Urbanism and Architectural Studies 20, no. 2 (2022): 121–31. http://dx.doi.org/10.21776/ub.ruas.2022.020.02.11.

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Several heritage buildings dating back the ancient history of the Ki Buyut Trusmi Cirebon site have been renovated and new buildings added. This paper aims to examine measured drawings related to the absence of original architectural documents. The method consists of field observation, expression of cultural meaning and significant architectural elements, as well as measured drawing studies. The heritage of Hindu-Javanese architecture has historical significance as a tomb complex based on an 1898 map, which is still in great demand by pilgrims. The significance of Hindu-Javanese architecture i

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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 (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 r

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Pais, Teresa. "MASTERING PERSPECTIVE IN OBSERVATIONAL DRAWING." Boletim da Aproged, no. 34 (December 2018): 101–6. http://dx.doi.org/10.24840/2184-4933_2018-0034_0015.

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The exercise of spatial representation poses specific difficulties to students of architecture. To identify and understand such setbacks, several students were asked to make a modelled drawing and a contour drawing of three urban spaces with highly differentiated features. The examination of the students’ drawings has enabled the identification of the most recurrent imprecisions, their corresponding spatial position and in which type of drawing they more frequently occur. The data collected suggest that, despite inaccuracies occurring more frequently and clearly in contour drawings, this type

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Sharifi, Mohammad Maruf. "Evaluation of technical drawing rules and its application in engineering drawings and final year projects." International Journal of Innovative Research and Scientific Studies 3, no. 3 (2020): 82–87. http://dx.doi.org/10.53894/ijirss.v3i3.38.

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The way of imagination and visualization of spatial, the ability of read, analyze and interpret different drawings for engineering students is provided by graphics training. The accurate way of technical drawings and rules in engineering drawing in final year projects are discussed in this paper. Primary and main material collection was done by distribution of questionnaires amongst the final year students and also by collecting their look outs based on a survey questionnaire amongst 300 students from different engineering departments. 300 different final year projects and 2500 engineering dra

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Bardak Denerel, Simge, and Gaye Anil. "Computer Aided Drawing Programs in Interior Architecture Education." Revista Amazonia Investiga 10, no. 39 (2021): 28–39. http://dx.doi.org/10.34069/ai/2021.39.03.3.

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Interior architecture education has displayed much variability from the past to the present day. Additionally, computer-aided drawing systems have become an irreplaceable part of interior architecture education, as in all other design disciplines. The contribution of computers in education to the design process has created a process of, Hand drawing – Design – Design in computer environment – Product – Prototype. Currently, traditional drawing methods are used much less. Computer-aided drawing programs in universities display differences in terms of models and content. Additionally, the year a

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Charitonidou, Marianna. "Le Corbusier’s Ineffable Space and Synchronism: From Architecture as Clear Syntax to Architecture as Succession of Events." Arts 11, no. 2 (2022): 48. http://dx.doi.org/10.3390/arts11020048.

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This article examines Le Corbusier’s architectural design processes, paying special attention to his concept of “ineffable space”. Le Corbusier related “ineffable space” to mathematics, arguing that both mathematics and the phenomenon of “ineffable space” provoke an effect of “concordance”. He also argued that when the establishment of relations is “precise” and “overwhelming”, architectural artefacts are capable of “provoking physiological sensations”. For Le Corbusier, the sentiment of satisfaction and enjoyment that an architectural artefact can provoke is related to a perception of harmony

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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 (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, su

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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 (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 thei

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Sheil, Bob. "Transgression from drawing to making." Architectural Research Quarterly 9, no. 1 (2005): 20–32. http://dx.doi.org/10.1017/s1359135505000059.

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