[PDF] The Iconography Of Architectural Plans eBook
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With surveys of diverse 'Buddhic' and 'Hindic' temples in India, Sri Lanka, Indonesia, Myanmar, Thailand, Vietnam, and even Malaysia, the book shows how the basic element in their architecture: the plan, was fraught with iconographic import and input, necessitating the guidance of an authoritative compendia, the arcane knowledge of the sthapati (priest-architect), and other complex procedures steeped in symbolism.
This text offers 11 servings of 'slow food' for the architectural imagination as opposed to the tasteless 'fast food' that dominates many drawing tables or digital tablets.
This book examines the application of drawing in the design process of classical architecture, exploring how the tools and techniques of drawing developed for architecture subsequently shaped theories of vision and representations of the universe in science and philosophy. Building on recent scholarship that examines and reconstructs the design process of classical architecture, John R. Senseney focuses on technical drawing in the building trade as a model for the expression of visual order, showing that the techniques of ancient Greek drawing actively determined concepts about the world. He argues that the uniquely Greek innovations of graphic construction determined principles that shaped the massing, special qualities and refinements of buildings and the manner in which order itself was envisioned.
Lavishly illustrated, this book thoughtfully presents and discusses architectural images which both derive from and inspire the act of building. Beautiful illustrations fill the pages, paying tribute to the process of image-making as an exercise of the imagination. Also covered are techniques for composing architectural images, including how to employ the best media and graphic devices, and more. 157 b&w illus., 50 color illus.
The iconography of Manhattan Island, 1498-1909 compiled from original sources and illustrated by photo-intaglio reproductions of important maps, plans, views, and documents in public and private collections
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
The practical, comprehensive handbook for creating effective architectural drawings In one beautifully illustrated volume, The Professional Practice of Architectural Working Drawings, Fourth Edition presents the complete range of skills, concepts, principles, and applications that are needed to create a full set of architectural working drawings. Chapters proceed logically through each stage of development, beginning with site and floor plans and progressing to building sections, elevations, and additional drawings. Inside, you'll find: Coverage of the latest BIM technologies Environmental and human design considerations Supplemental step-by-step instructions for complex chapters Five case studies, including two that are new to this edition Hundreds of computer-generated drawings and photographs, including BIM models, three-dimensional models, and full-size buildings shown in virtual space Checklists similar to those used in architectural offices Tips and strategies for complete development of construction documents, from schematic design to construction administration With an emphasis on sustainability throughout, this new edition of The Professional Practice of Architectural Working Drawings is an invaluable book for students in architecture, construction, engineering, interior design, and environmental design programs, as well as professionals in these fields.
Drawing Ambience showcases a selection of drawings from the personal collection of the noted architectural educator Alvin Boyarsky (1928-1990). As chairman of the Architectural Association (AA) in London (1971-1990), Boyarsky accumulated an impressive collection of drawings at a time when the AA produced an extraordinary program of exhibitions and publications rooted in drawing not only as a representational medium but also a form of architecture in its own right. Boyarsky s drawing collection emerged at the confluence of modernism, postmodernism, and other cultural currents worldwide, capturing the work of artists and architects such as Alexander Brodsky and Ilya Utkin, Frank Gehry, Zaha Hadid, John Hejduk, Daniel Libeskind, Mary Miss, OMA, Eduardo Paolozzi, Superstudio, Shin Takamatsu, Bernard Tschumi, and Peter Wilson. The publication features a full-length essay situating Boyarsky s collection in the emergence of architecture as a global discursive discipline as well as close analysis of fifty of the most imaginative, visionary drawings in it. Exquisite reproductions of each of the featured drawings and prints, along with portfolios of limited-edition publications from the AA, are supplemented by close-up and microscopic images, providing an unprecedented opportunity to explore the imaginative spirit of drawing practices central to the magnetic web of conversations in the architectural discourse, both historical and contemporary, including the discipline s renewed interest in the hand as it relates to drawing and making. "
How do buildings act with people and among people in the performances of life? This collection of essays reveals a deep alliance between architecture and the performing arts, uncovering its roots in ancient stories, and tracing a continuous tradition of thought that emerges in contemporary practice. With fresh insight, the authors ask how buildings perform with people as partners, rather than how they look as formal compositions. They focus on actions: the door that offers the possibility of making a dramatic entrance, the window that frames a scene, and the city street that is transformed in carnival. The essays also consider the design process as a performance improvised among many players and offer examples of recent practice that integrates theater and dance. This collection advances architectural theory, history, and criticism by proposing the lens of performance as a way to engage the multiple roles that buildings can play, without reducing them to functional categories. By casting architecture as spatial action rather than as static form, these essays open a promising avenue for future investigation. For architects, the essays propose integrating performance into design through playful explorations that can reveal intense relationships between people and place, and among people in place. Such practices develop an architectural imagination that intuitively asks, 'How might people play out their stories in this place?' and 'How might this place spark new stories?' Questions such as these reside in the heart of all of the essays presented here. Together, they open a position in the intersection between everyday life and staged performance to rethink the role of architectural design.
Contemporary technical architectural drawings, in establishing a direct relationship between the drawing and its object, tend to privilege the visible physical world at the expense of the invisible intangible ideas and concepts, including that of the designer’s imagination. As a result, drawing may become a utilitarian tool for documentation, devoid of any meaningful value in terms of a kind of knowledge that could potentially link the visible and invisible. This book argues that design drawings should be recognized as intermediaries, mediating between the world of ideas and the world of things, spanning the intangible and tangible. The notion of the 'Imaginal' as an intermediary between the invisible and visible is discussed, showing how architectural drawings lend themselves to this notion by performing as creative agents contributing not only to the physical world but also penetrating the realm of concepts. The book argues that this 'in-between' quality to architectural drawing is essential and that it is critical to perceive drawings as subtle bodies that hold physical attributes (for example, form, proportion, color), highly evocative, yet with no matter. Focusing on Islamic geometric architectural drawings, both historical and contemporary, it draws on key philosophical and conceptual notions of imagination from the Islamic tradition as these relate to the creative act. In doing so, this book not only makes important insights into the design process and act of architectural representation, but more broadly it adds to debates on philosophies of the imagination, linking both Western and Islamic traditions.