Architectural graphics

Ottoman architecture is the architecture of the Ottoman Empire which emerged in Bursa and Edirne in 14th and 15th centuries. The architecture of the empire developed from the earlier Seljuk architecture and was influenced by the Byzantine architecture, Armenian architecture, Iranian [1][2] as well as Islamic Mamluk traditions after the conquest of Constantinople by the Ottomans. [3][4][5] For almost 400 years Byzantine architectural artifacts such as the church of Hagia Sophia served as models for many of the Ottoman mosques. [5] Overall, Ottoman architecture has been described as Byzantine architecture synthesized with architectural traditions of the Mediterranean and the Middle East. [6] The Ottomans achieved the highest level architecture in their lands hence or since. They mastered the technique of building vast inner spaces confined by seemingly weightless yet massive domes, and achieving perfect harmony between inner and outer spaces, as well as articulated light and shadow. Islamic religious architecture which until then consisted of simple buildings with extensive decorations, was transformed by the Ottomans through a dynamic architectural vocabulary of vaults, domes, semi domes and columns. The mosque was transformed from being a cramped and dark chamber with arabesque-covered walls into a sanctuary of aesthetic and technical balance, refined elegance and a hint of heavenly transcendence. Today, one finds remnants of Ottoman architecture in certain parts of its former territories under decay. [7]

Ташева, Стела. Общуване и обучение в архитектурните виртуални общности. // Добре дошли в Киберия. Записки от дигиталния терен, ИЕФЕМ, БАН, София, 2014, с. 326-341, ISBN 978-954-8458-49-8 Online: http://iefem.bas.bg/welcome-to-cyberia-2014.html

Цел на статията е да анализира размножаването и участието на архитектурната графика и нейните готови графични елементи в онлайн комуникациите и да изследва формите за онлайн съхранение и разпространение на чертежи и графични обекти. Готовите елементи се разглеждат и като ресурс, който може да осветли създаването на нови гледни точки за  архитектурата, а също и като основа за появата на специфични кибер-култури. Проучват се някои виртуални общности - библиотечни портали, каталози, мрежи и форуми, и се търси тяхното въздействие върху графичните традиции в България.
Резултатите на статията са в областта на архитектурната графика и допринасят за извличане на нови стойности на архитектурната  визуализация , и подпомагат анализът на знания, които ще бъдат загубени в епохата на цифровите чертежи.

Compact city, sprawled city. Language and manipulation in commercial architectural graphic communication Resumen L a imagen ha adquirido un papel predominante en el discurso arquitectó-nico, reduciendo el espacio a un objeto de consumo visual. La hegemonía ocularcentrista hoy en día constituye una base en la concepción arqui-tectónica y urbana. Así, la arquitectura, más que un espacio, es una imagen con lenguaje propio, susceptible de múltiples interpretaciones. Bajo este principio, ciertos valores se asocian de forma adulterada a elementos recurrentes, generan-do dinámicas de manipulación en su comunicación gráfica. Con estos anteceden-tes, se contrastan dos modelos urbanos: la ciudad compacta y la ciudad dispersa. Su intencionalidad simbólica es abordada en base a las categorías otorgadas a la "función y el signo en arquitectura", planteadas por Umberto Eco: funciones primarias (denotativas) y secundarias (connotativas). Estos conceptos se han aplicado en el análisis de la gráfica de dos revistas ecuatorianas, una de difusión especializada (Trama) y otra de difusión popular (El Portal). La contrastación de los valores hallados finalmente genera una discusión sobre el lenguaje gráfico, su ética, y sobre el papel de la gráfica de otras categorías de difusión de la arquitec-tura, como las revistas científicas o las 'Little magazines' de los años 1960-1970 como respuesta a la "sociedad del espectáculo" de aquella época. Palabras clave: gráfica arquitectónica, ciudad compacta/dispersa, lenguaje, símbolo, Ecuador. Abstract: The image has acquired a predominant role in the architectural discourse, reducing the space to an object of visual consumption. The current ocularcentrism hege-mony constitutes a base in the architectural and urban conception. Thus, architecture rather than a space, is an image with its own language, susceptible of multiple interpretations. Under this principle, certain values are associated in an adulterated way to recurrent elements, generating dynamics of manipulation in their graphic communication. With this background, two urban models are contrasted: the compact city and the sprawled city. The approach to its symbolic intentionality is based on the categories given to "function and sign in architecture", proposed by Umberto Eco: primary (denotative) and secondary (connotative) functions. These concepts have been applied in the analysis of the graphics of two Ecuadorian magazines, one of specialized diffusion (Trama) and one of popular diffusion (El Portal). The contrasting of the found values finally generates a discussion about the graphic language, its ethics, and the role of the graphics of other categories of architectural diffusion, such as the scientific magazines or the 'little magazines' of 1960's-1970's in response to the "society of the spectacle" of that time.

Ташева, Стела, Българска архитектурна графика на XX век – типология на съдържанието. // Архитектура, 2014, бр.3, с. 46-49, ISSN 0324-1254
Статията е част от проекта на автора Българска архитектурна графика на XX век. Проблеми и тенденции. В нея се предлага класификация на вида и съдържанието на изследвани графични артефакти в периода и възможен количествен показател за техния анализ.

Katalog zur Ausstellung im Buchmuseum der Sächsischen Landesbibliothek, Staats- und Universitätsbibliothek (SLUB) vom 17. Mai bis 1. September 2013; darin von Peter H. Jahn kuratiert der architekturgeschichtliche Teil [= Katalogbeiträge Nr. 1-41, 65]. Ergebnis einer Kooperation des Instituts für Romanistik der Technischen Universität Dresden im Rahmen des EU-finanzierten Drittmittelprojekts: „European Network for Baroque Cultural Heritage (ENBaCH): Baroque Fantasies – Creating Exotic Spaces. The Case of Dresden“ mit Schlösserland Sachsen – Staatliche Schlösser, Burgen und Gärten Sachsen gGmbH (SBG) und der SLUB.
Ausstellungsgegenstand ist der Buchbesitz des barockzeitlichen sächsischen Hofarchitekten Matthäus Daniel Pöppelmann (1662-1736), der mit dem Zwingerbau zu Dresden in die Architekturgeschichte eingegangen ist.

Graphic representation is a fundamental language in architecture and engineering because it facilitates the communication of any type of information. Therefore, professionals and students need continuous and updated training, with scientific references being the best source of knowledge. However, accessing the latest findings is a complex process for people in the professional world or without an extensive research background since there are no specific filters in the databases, such as architectural graphics. This manuscript aims to define the research topics and trends in architectural graphics as a point of reference for novel professors and new researchers in graphics or drawing. A database on the Scopus-indexed scientific production of the professors of architectural graphics from public architecture schools in Spain has been developed. Furthermore, cluster and map network analyses have been performed using VOSviewer with different levels of co-occurrence to define what this group of academics investigates and how the issues are related. The results evidenced a structure in four categories: the philosophy and theory of architectural graphics, the theory of geometry in architectural heritage, the application of digital graphics in architecture education and urban design management. Research gaps are mentioned and a base framework for the future of research in architectural graphics is proposed.

The Rudiment of Architectural Rendering (Pen and Ink, Colours), is a practical Architectural rendering book edited by Prof. Prabhubhai K. Patel (Emeritus Professor of Architecture from Indian Institute of Technology, Roorkee – Oldest Technical Institution of Asia). It contains about 45 illustration pictures of buildings rendered with colours, pen and ink. It is a book for Architects, Illustrators, Artists and Interior Designers. This book intended to develop a student studying architecture to demonstrate artistic skills in the core course needed to become an architect (Architectural Graphics), most especially in the application of colours. As an experience teacher of all levels of education from primary to university, believed that the daily practice of a good architect relies more on hand created drawings before it is done with the use of software. Hand created drawings gives a person training to be an architect to make use of the simplest intuitive connection between the mind and the hand. It also allows a consolidation of ideas developing the process of creative thinking. AutoCAD was created to aid architectural design for professional practice not to be a tool to develop an architect. The power of creativity relies on what you can create with your hand. An architect hand created drawing should be his pride and a manifesto to fire the imagination of his client. Even in the age of computer application, the use of hand in architectural graphics has become more precious. Using digital tools certainly has improved the way in which building design is organized and documented, but the computer cannot become a complete replacement for the way in which architects conceptualize and communicate their designs. Hand drawing is a gift that can’t be ignored. We need to keep doing it. We are not machines but humans and to be an architect, one must be an artist, and to be an artist, you must be creative and to be creative you must be at one with the house. Hand drafting is an art according to Walter Gropius, says in one of his quotes, ‘Children should be introduced right from the start to the potentialities of their environment, to the physical and psychological laws that govern the visual world and to the supreme enjoyment that comes from participating in the creative process of giving form to one’s living space.

RESUMO A separação entre projeto e construção, embora pareça natural para o arquiteto contemporâneo, transformou tanto a prática da arquitetura quanto a definição e posição social dos arquitetos. A representação da arquitetura como processo independente à construção do artefato teve seu início no Renascimento, abrindo caminho para que, a partir do século XV, se transferisse para o papel as características mais importantes da obra arquitetônica. Mais do que isso, com a representação, o desenvolvimento e reflexão sobre a forma ganhou um novo meio e uma nova linguagem com a qual se expressar. Este trabalho analisa de que maneira as mudanças tecnológicas transformaram a representação e o fazer arquitetônico, da autonomia da prática arquitetônica no Renascimento, passando pela informatização dos escritórios de arquitetura no último quarto do século XX até chegar a adoção massiva das plataformas BIM para discutir sobre o fato de que, muito embora os meios pelos quais sejam produzidos os desenhos de arquitetura se transformem constantemente, os códigos de representação se mantém praticamente inalterados desde os tratados renascentistas. A integração entre a profissão, a arte e a técnica transformou a arquitetura em um ofício projetual, no qual o verdadeiro significado cultural está no projeto e não na execução da obra (GREGOTI, 2010). Para Corona Martínez (2000), a representação exata do objeto arquitetônico é atingida ainda no século XVIII impulsionada pela engenharia militar. É esta representação que será utilizada durante o século XX sem muitas modificações. A popularização dos computadores pessoais nos anos 1980 e o aumento exponencial do poder de processamento destas máquinas permitiu a criação de modelos computacionais complexos. A computação gráfica não precisava mais ser utilizada apenas como um substituto das pranchetas. O aumento da complexidade dos modelos permitiu a inserção informações sobre a edificação no modelo computacional: foi o que a Graphisoft chamou de Virtual Building, ainda nos anos 1980. A construção virtual foi agrupada a outros conceitos semelhantes no início dos anos 2000 sob o nome de BIM – Building Information Modeling. É possível que, com a implementação universal de sistemas baseados em modelos com informações detalhadas sobre o projeto, uma superação de paradigmas aconteça na representação arquitetônica. Se aceitarmos que o modelo análogo ao edifício contém todas informações necessárias para a execução física do edifício, será possível superar a necessidade de extrair desenhos planimétricos – como as plantas e os cortes. Enquanto tal superação de paradigmas não acontece, os modelos podem ser usados como ferramentas para que o arquiteto mantenha controle sobre o processo de projeto, atuando como um centralizador da informação. Este controle possibilitaria a potencialização da posição de independência que a separação entre o projeto e a construção permitiram no século XV.

Los sistemas de evaluación del rol investigador del profesorado universitario español se centran en el artículo científico como unidad de medición de los avances de un área de conocimiento. Se ha constatado que los estudios globales pueden proporcionar resultados sesgados y contradictorios. En España, la arquitectura se evalúa junto a las ingenierías sin considerar sus vertientes técnicas o artísticas específicas. Este estudio se centra en conocer la producción científica en SJR del profesorado del área Expresión Gráfica Arquitectónica de todas las escuelas de arquitectura públicas españolas (n=292), y si ésta se relaciona con el grado de doctor y la figura académica. Para ello se utilizará estadística descriptiva, comparativa e inferencial. Los resultados revelan índices de publicación bajos y una tendencia de crecimiento en la última década, pudiéndose relacionar los mejores resultados con la formación de doctor y figura contractual.

Graphic representation is a fundamental language in architecture and engineering because it facilitates the communication of any type of information. Therefore, professionals and students need continuous and updated training, with scientific references being the best source of knowledge. However, accessing the latest findings is a complex process for people in the professional world or without an extensive research background since there are no specific filters in the databases, such as architectural graphics. This manuscript aims to define the research topics and trends in architectural graphics as a point of reference for novel professors and new researchers in graphics or drawing. A database on the Scopus-indexed scientific production of the professors of architectural graphics from public architecture schools in Spain has been developed. Furthermore, cluster and map network analyses have been performed using VOSviewer with different levels of co-occurrence to define what this gr...

Image-based social networks are environments where users share their photographs and involuntarily contribute to evolve and to spread the meaning of things. For this reason, it is essential to use this source of information to determine how people perceive cultural heritage, specifically building heritage. These interactive spaces have a visual component that is essential to understand users' perception of heritage architecture and that may also influence the dissemination of images. This research aims to describe the social concept of architectural heritage on Instagram and to explore whether the aesthetic appeal resources influence its dissemination. Images indexed to the hashtag #patrimonioarquitectonico (Spanish language version of #architecturalheritage) were collected for the period of three months (n = 180 images). A graphical and observational analysis was performed on categories of four variables of aesthetical appeal: human dimension, color, linear perspective and aesthetical quality. Subsequently, descriptive, cross-tabulation and variance analyses were applied. The findings have proven that regular users share a fairly heterogeneous vision of building types concerning architectural heritage, and that there are stakeholder accounts that could be altering their meaning due to strategies to protect residential areas. The paper describes how the aesthetic appeal variables add meaning to the social perception of the building heritage and which ones statistically influence its dissemination in terms of likes and engagement on Instagram.