'Architecture, as a science must be associated with mathematical logic and reasoning\r'

'‘Architecture, as a promiscuous must be associated with mathematical system of logic and reasoning, lest it is identified as a non-exact science identical the visual arts’ (Allen, 2000, p 7). Just same(p) the exact sciences, biology and physics, wherein hitulated hypotheses can be tested over and over again by dint of experiments in gener exclusivelyy controlled environments; decoratorure is tested by means of a very assorted method acting. In computer computer architecture, hypotheses, in the public figure of design ideas and concepts be reflected in displaces and designs which ar in turn, balanced by mathematical equations.However, the go can only be repeated once. The reasons, which argon quite obvious, pertain to the unavailability of a great range of resources. The final outcome can be a anatomical structure, encompassing and infinite, in the form of a design space or built-environment. Drawings ar a very important looking at of architectu re. An architect’s or artist’s ideas and concepts atomic number 18 translated in such using the principles of positioning, vanishing point, viewpoint, tracing, orthographic and i salubrious-nightric projections, and the the likes.To induce with, there is already difficulty transcribing an idea into a physical lottery. From the picture in pen and penning into a live, standing and habitable create or structure poses the biggest challenge of all for the proponents. Architects must be very c beful in minimizing the deviation of all(prenominal) component from the other. ‘Thus, there is constantly an attempt to push the abstract satisfyingm of geometry with the material stuff of the mental synthesis’ (as cited in Petrescu, 2007, p 93). What might hurt been conceived whitethorn non be drawn accordingly and consequently, whitethorn non totally materialize into reality.‘Strict ceremonial occasion of the principles in perspective is foster ed in that non- word of mouthar lines argon edited out’ (Petrescu, 2007, p 102). Tracing, as one method of draftsmanship, showcasing a beautiful conglomeration of artists’ and architects’ works, is a bod of copying from something that is already there. It is primarily based on outlines, thus the term, â€Å"outline loving”. Orthographic moves on the other egest are comprised by some of the basic architectural drawings that is to say elevations, plans, sections, and the likes. Perspective drawing enables the sweetheart or audience to feature both(prenominal) fore- and back- grounds.It was even believed that perspective portrays a narrative explanation through which the past and present are crossed. ‘In this reference, perspective serves as a while cultivate: ordering, surveying, and recreating the past from the viewpoint of the present’ (Allen, 2000, p 7). whatsoever principles govern perspective drawing namely the lap of parallel lines into the centric point and the apparent step-down in distance among equidistant cross(prenominal) lines could be determined by geometric method. contraceptive is introduced, with changes in scale, sampling and decontextualising, distortion and overlays.On the other bargain, vanishing points and viewpoints, which are interrelated, affirm an ideal viewing distance surrounded by the observer and the mental synthesis, in spite of the offer of antithetical angles and perception. ‘Enfilade, an architectural spatial connection technique, is defined as the alignment of the centrelines of doorways or distributeings to a series of spaces’ (Goldschimdt, 2004, p 17). It has been widely used in photography, and associated with one-point perspective; however, the issue of a visible depth even in the presence of compressed physical distances is commendable.A plan provides a description of a whole, if only in 2 dimensions †a series of equidistant spaces or openings impart be translated into a compressed image by an experienced architect who has a trained eye. The drawings are non-predictive for the conditions and the end results are case-sensitive. An architectural drawing may or may non be authored by only one person. ‘In a false-etymology, to â€Å"de-sign” becomes the collaborative efforts of a team of architects and artists’ (Petrescum 2007, p 100).But when the orthographic drawing had been made, this appears to be created by a single hand although amendments and comments by the team may be indicated by the hasty notes and markings on the drawing. Evans (1997) suggests that the modality of conventional architectural drawing is an expression of the perceived equivalence of fence in and paper, with the drawing acting as both advance and veil for authored intentions in a manner right away transferrable into a edifice (as cited in Callicott, 2001).This verbalised advantage poses as a disadvantage as well, in that dr awings can possibly mask the actualization of a great building through inborn constraints. As cited in Petrescu (2007), Evans noted that the architectural drawing is not simply a reductive and failed government agency (or â€Å"pre-presentation” since the drawing is usually prior to its object) of a building-to-be only if is besides an operator. (p. 93). The transaction between the two components is rattling as both can be considered confabulation tools. ‘The underside of drawings reveals its materiality only if they are unlooked or unread’ (Petrescu, 2007, p 102).Architectural drawings supposedly communicate the architect’s idea to the builder, but historically this really caused separation. ‘Any type of drawing, orthographic or isometric, which is constructed of real proportional dimensions and relative coordinates cannot provide the designer every insight into the qualities of appearance to the subjective viewer’ (Goldschimdt, 200 4, p 16). Even when designers are endowed with exceptional experience in the matter, the physical manifestation of an abstract representation is still questionable. Indeed, there is a great disjuncture between drawings and buildings.The drawing (almost an accumulated partial representations), from which all else emanates, disappears with the onset of construction. Allen (2000) states ‘that the capacities and logics of drawing are necessarily explicit from the potentials of construction; practice disrupts the easy characterization of drawing as the realm of absence and building as the realm of presence’ (p 6). The abstract realm of representation and geometry, the initial builds of any architectural process, should be hone as well as the physical aspect †that is the building phase. Architecture is not the only science adeptified through geometry.It is likewise useful to wooden leg down music properly to its visual harmonics. ‘Cosmological, phantasmal an d philosophical consonances were played out on the theme of geometry of space and its relation to an idealized personate’ (Allen, 2000, p 7). An important subject showcasing the sensitivity of the human relationship between drawings and buildings is the pavilion of 1929 by Ludwig Mies van der Rohe. ‘It is an architectural icon, not only because it is seductive and frequently copied, but also because it has most often been perceived in conditions comparable to that of the artwork’ (Hill, 2001 p 66).Unlike most of Mies’ works, the marquee, now popularly called Barcelona Pavilion, recognised as to pretend a level symmetry, does not focus on adorn. The imagined symmetry no longer exists because the crosswise bypasses and cuts the vertical planes in the form of a physical plane. The Pavilion was widely know even through photographs from 1930 to 1986 until its reconstruction as an exhibit, gallery, and historical monument †the reason for the disc ontinuance of its display to the public.Whether the building was taken in black and white or coloured photographs, there is no great variation because as was conceived by the designer, it reflected vision, and not any or all of the senses. ‘Smaller buildings with emphasis on the horizontal plane, wherein the top and bottom are symmetrical with repute to the horizon, is also commendable such that the â€Å"floating” crown planes above and the grid of the floor pavers below are distanced equally from the eye level of the average viewer’ (Goldschmidt, 2004, p 16).As cited in Hill (2001), ‘Mies’ architecture is theorize by representations rather than by plastic realities and the stopping point of projection as an empty space was successfully transcribed into the Pavilion’ (p 66). Water lilies abound in the reconstructed building, although as studies suggest, their presence was unintentional. As an human body of the ideals and principles of a locality, the Pavilion is more just than an attribution to Germany. It is the relationship with the general surroundings and Barcelona as well as the association with international modernism that makes the Pavilion a big hit.Another characteristic of great architecture is the leave behind to triumph over the tricky unbalancing relationship between rationality and aesthetic. Mies, one of the great modernists, had won over this battle in his design of the Pavilion, beg the use of skinny little I-beams suspended in mid-air. Evans (1997) noted ‘that some of the finest detailing of the modern motion was displayed by the immaculate lines and cruciform columns of the German Pavilion †columns that are notorious for their structural sleight of the hand’. He also noted that the perception of light and depth as exhibited by the Pavilion is admirable.The Hubbe reside in Magdeburg designed in 1935 by Mies is also of special interest because of the treatment of the outdoor and indoor(prenominal) areas as illusory; nature could be slow replaced by a photomontage. Over the time, the types and techniques of drawing have changed. Increasing exponentially, drawings used by architects are not only confined to the â€Å"footprint” of a building or its elevations. A discourse on whether perspective is truly an equivalent of the â€Å"sight” or unless(prenominal) a conventional representation based on the West had been raised. Computer-aided machines (CAM) can do lots of things with just a click of a finger.This compensates for the difficulty of traditionalistic drawing and traditional palette to translate the proposed and want outcome. Traditional palette may not be realistically portrayed in the building from the drawing (or even from the imagination). Evans related that unlike the visual arts, to which architecture is closely associated with, the former is product-directed while the latter postulate to utilize a medium †drawings. T he technology of building materials is always and never a step ahead or behind drawing techniques.There is always a discrepancy which may be caused by the changes in the shape of the materials, i.e. deformation or phase change. This is where the ultimate problem arises. ‘The most intense activity is the construction and manipulation of the final artefact, the purpose of preliminary studies to release sufficient definition for final work to begin, not to provide a complete determination in advance, as in architectural drawing’ (as cited in Cunningham, 1998, p 9). According to Allen (2000), ‘to pay close anxiety to the transactions between the culture of drawing and the playing field of building, the architect must simultaneously inhabit both worlds’ (p.6).Computers are deemed useful in almost any undertaking of a project in line with almost any profession; architecture is not a stranger to this. The most complicated structure and built environments that are seen standing today have not denied the vital role that had been performed by computers. However, engineers tolerate an avenue for a â€Å"low technology” in the building and engineering world for sketching will always be a big part of communicating the design language to the participants of the process.‘It is crucial in accessing the body of tacit knowledge on which the profession depends’ (Callicott, 2001, p 61). It is therefore confirmed that in the practice of architecture and engineering, the need for employing high technology is very much just the same as that of low technology. whiz moral imperative for an architect besides evoking that architecture is a symbol of its time, buildings and structures should reflect the spirit of the age. In the time of modernism, architecture has been described as less in design and material and more in junctureality and efficiency.Rampant and popular issues governing a current time period may be well reflected into architecture not only through its design but also in its building techniques and materials. The growing fix for the conservation of the environment and its natural resources may be a responsible consideration addressed in design. The common trends in urban and modern architecture are summarized in its tag line â€Å"folds and bends”. Traditional drawing techniques like perspective and orthographic projections may no longer be sufficiency for such aspirations exhibiting utmost complexity.Technology is architecture’s gauge, command or misguiding it to the future, to either progress or regress. â€Å" decorate urbanism” was a term coined by Charles Waldheim that describes the practices of designers who replaced architecture as the primary medium in city- devising. ‘It is like interstitial discipline that operates in the spaces between buildings, infrastructural systems, natural ecologies which advocates noteworthy attention for the marginal spaces’ (Waldheim, p 59).It bridges the gaps between structures by preparing the ground and extending the functionality and efficiency of the buildings and its surrounding spaces like the strategic open parks and walkways aesthetically arrange with landscape components. Contemporary urban landscapes maximize the functionality of the open spaces to compensate for the commercial value of land in the city; unlike before, formal themes of landscape designs in the urban were spacious and lack immediate purpose. The development of urban forms is explained by Conzen through the use of concepts such as fringe belt and burgage cycle.The former is characterized by a land initially occupied by large sites having low access to commercial space, which finally, transforms it (land) into a full-fledge built-up area. ‘The progressive filling-in of plots with buildings, leading to a climax phase of maximum coverage and, ultimately, the clearance of plots preparatory to restoration describes the l atter’ (Whitehand & Larkham, 1992, p 6). There is a certain hierarchy in which the urban forms namely townspeople plan, building forms, and land use is arranged within the plots or land-use units and consequently, converged to form the general fabric of the town.Urban landscape cells, the smallest conglomeration of the morphologically homogenous areas that are composed of the site and the above mentioned forms, complex to form urban landscape units. Several features of urban landscape i. e. high-tech corridors, festival settings and pedestrian shopping malls are associated with post-modernism. The latter is noted to be undergoing widespread sparing restructuring, including architectural manifestations.The study of urban forms that comprise the urban landscapes is essential not only in constitution these landscapes but also for future urban supply and architecture. The design and layout of former towns, evident in the existing buildings and structures, provide informa tion on how future ones will be established and managed. Continuity in function and elements is revealed specifically on same sites even of different time periods. Whitehand and Larkham (1992) used Worcester, a cathedral town with a complex multi-phase plan as an example to demonstrate this point.The central sites, which are prone to redevelopment, allow for road construction and widening. To analyze the evolution of a certain town, a combination of the surviving elements of a not-so-distant urban landscape as well as cartographic, documentary and archaeological evidences are important. Although the towns and plan units are not permanent and vary through a towns and periods, a certain parallelism can thence be derived. As was concluded, this is essential in making future planning and designing of towns.\r\n'