Cubical perspective is maybe the youngest alternative among the options for immersive drawing. It... more Cubical perspective is maybe the youngest alternative among the options for immersive drawing. Its theoretical definition, as every immersive perspective, has its pros and cons. Furthermore, its utility has not been fully explored, e.g. for early conceptual design. In fact, while its theory is on its way to being solved with different methods, there is still a doubtful judgement about the practice: is cubical perspective a way to think? A tool? Can we do something different with it, or are we ju...
Desde há muito que o desenho é assumido como instrumento preferencial da dimensão intelectual do ... more Desde há muito que o desenho é assumido como instrumento preferencial da dimensão intelectual do trabalho do arquitecto. Esta convicção, suportada por sucessivas teorizações, fez com que o desenho se constituísse e fosse tomado como elemento estruturador do pensamento projectual, na prática e na aprendizagem do projecto. Por essa razão, o seu controlo tornou-se numa condição determinante para o acesso ao ensino de arquitectura.Hoje, numa época em que as tecnologias digitais assumem uma crescente hegemonia na cultura contemporânea, esse valor do desenho poderá parecer questionável. Mas será ainda o desenho que permite estabelecer e superar a distância necessária à invenção da ‘realidade’. Assim, não estará tanto em causa o valor do desenho mas, antes, as circunstâncias que, hoje, possibilitam a sua aprendizagem e o seu subsequente controlo. Não só os tempos de aprendizagem se condensaram como, também, a preparação prévia dos alunos é muito díspar. Face a estas novas circunstâncias, t...
Unless you draw something, you do not understand it. It is a mistake to believe that now I unders... more Unless you draw something, you do not understand it. It is a mistake to believe that now I understand the problem and now I draw it. Rather, right at the time you draw you realize what the problem is and then you can rethink it" 1. Architects use graphic representation to invent architectural objects. As it is not the architect who builds the architectural objects, that work is done by others, it is through confrontation with the object"s representation, and not through confrontation with the construction thereof, that such objects are created. One could accept, perhaps it is even desirable, that the drawing is a translation of the thought, returning it to the creator in a new form; but one would also have to acknowledge that the drawing never reveals itself to be an exact record of the thought process. Nevertheless, it is through the drawing that thought becomes understandable, so any lack of correspondence between thought and its representation must be regarded as something more than a deficiency. It is also important to consider the drawing to be more than just a reflection of the thought one wishes to develop further. In contemporary architectural design practice the drawing no longer enjoys the hegemony that a certain nostalgic idealisation of the work of the architect would confer upon it, but the relationship between the drawing and the design thought process remains closely knit, in that the creation of architectural objects continues to be dependent on representation thereof. Using a specific design process as an examplethe Gallo House (1968-1970), in São Pedro de Moel, Portugal, by Manuel Mendes Tainhain which the drawing was a decisive presence, this paper seeks to study the relations between thought and representation beyond the general notion of a certain subordination of the representation to the thought that brings it about. It is through the drawing that the thought can be realised, for it then to be confronted with the drawing.
A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitali... more A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso.
Architects use graphic representation to invent architectural objects. As it is not the architect... more Architects use graphic representation to invent architectural objects. As it is not the architect who builds the architectural objects, that work is done by others, it is through confrontation with the object's representation, and not through confrontation with the construction thereof, that such objects are created. One could accept, perhaps it is even desirable, that the drawing is a translation of the thought, returning it to the creator in a new form; but one would also have to acknowledge that the drawing never reveals itself to be an exact record of the thought process. Nevertheless, it is through the drawing that thought becomes understandable, so any lack of correspondence between thought and its representation must be regarded as something more than a deficiency. It is also important to consider the drawing to be more than just a reflection of the thought one wishes to develop further. In contemporary architectural design practice the drawing no longer enjoys the hegemony that a certain nostalgic idealisation of the work of the architect would confer upon it, but the relationship between the drawing and the design thought process remains closely knit, in that the creation of architectural objects continues to be dependent on representation thereof. Using a specific design process as an examplethe Gallo House (1968-1970), in São Pedro de Moel, Portugal, by Manuel Mendes Tainhain which the drawing was a decisive presence, this paper seeks to study the relations between thought and representation beyond the general notion of a certain subordination of the representation to the thought that brings it about. It is through the drawing that the thought can be realised, for it then to be confronted with the drawing.
Cubical perspective is maybe the youngest alternative among the options for immersive drawing. It... more Cubical perspective is maybe the youngest alternative among the options for immersive drawing. Its theoretical definition, as every immersive perspective, has its pros and cons. Furthermore, its utility has not been fully explored, e.g. for early conceptual design. In fact, while its theory is on its way to being solved with different methods, there is still a doubtful judgement about the practice: is cubical perspective a way to think? A tool? Can we do something different with it, or are we ju...
Desde há muito que o desenho é assumido como instrumento preferencial da dimensão intelectual do ... more Desde há muito que o desenho é assumido como instrumento preferencial da dimensão intelectual do trabalho do arquitecto. Esta convicção, suportada por sucessivas teorizações, fez com que o desenho se constituísse e fosse tomado como elemento estruturador do pensamento projectual, na prática e na aprendizagem do projecto. Por essa razão, o seu controlo tornou-se numa condição determinante para o acesso ao ensino de arquitectura.Hoje, numa época em que as tecnologias digitais assumem uma crescente hegemonia na cultura contemporânea, esse valor do desenho poderá parecer questionável. Mas será ainda o desenho que permite estabelecer e superar a distância necessária à invenção da ‘realidade’. Assim, não estará tanto em causa o valor do desenho mas, antes, as circunstâncias que, hoje, possibilitam a sua aprendizagem e o seu subsequente controlo. Não só os tempos de aprendizagem se condensaram como, também, a preparação prévia dos alunos é muito díspar. Face a estas novas circunstâncias, t...
Unless you draw something, you do not understand it. It is a mistake to believe that now I unders... more Unless you draw something, you do not understand it. It is a mistake to believe that now I understand the problem and now I draw it. Rather, right at the time you draw you realize what the problem is and then you can rethink it" 1. Architects use graphic representation to invent architectural objects. As it is not the architect who builds the architectural objects, that work is done by others, it is through confrontation with the object"s representation, and not through confrontation with the construction thereof, that such objects are created. One could accept, perhaps it is even desirable, that the drawing is a translation of the thought, returning it to the creator in a new form; but one would also have to acknowledge that the drawing never reveals itself to be an exact record of the thought process. Nevertheless, it is through the drawing that thought becomes understandable, so any lack of correspondence between thought and its representation must be regarded as something more than a deficiency. It is also important to consider the drawing to be more than just a reflection of the thought one wishes to develop further. In contemporary architectural design practice the drawing no longer enjoys the hegemony that a certain nostalgic idealisation of the work of the architect would confer upon it, but the relationship between the drawing and the design thought process remains closely knit, in that the creation of architectural objects continues to be dependent on representation thereof. Using a specific design process as an examplethe Gallo House (1968-1970), in São Pedro de Moel, Portugal, by Manuel Mendes Tainhain which the drawing was a decisive presence, this paper seeks to study the relations between thought and representation beyond the general notion of a certain subordination of the representation to the thought that brings it about. It is through the drawing that the thought can be realised, for it then to be confronted with the drawing.
A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitali... more A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso.
Architects use graphic representation to invent architectural objects. As it is not the architect... more Architects use graphic representation to invent architectural objects. As it is not the architect who builds the architectural objects, that work is done by others, it is through confrontation with the object's representation, and not through confrontation with the construction thereof, that such objects are created. One could accept, perhaps it is even desirable, that the drawing is a translation of the thought, returning it to the creator in a new form; but one would also have to acknowledge that the drawing never reveals itself to be an exact record of the thought process. Nevertheless, it is through the drawing that thought becomes understandable, so any lack of correspondence between thought and its representation must be regarded as something more than a deficiency. It is also important to consider the drawing to be more than just a reflection of the thought one wishes to develop further. In contemporary architectural design practice the drawing no longer enjoys the hegemony that a certain nostalgic idealisation of the work of the architect would confer upon it, but the relationship between the drawing and the design thought process remains closely knit, in that the creation of architectural objects continues to be dependent on representation thereof. Using a specific design process as an examplethe Gallo House (1968-1970), in São Pedro de Moel, Portugal, by Manuel Mendes Tainhain which the drawing was a decisive presence, this paper seeks to study the relations between thought and representation beyond the general notion of a certain subordination of the representation to the thought that brings it about. It is through the drawing that the thought can be realised, for it then to be confronted with the drawing.
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