Architectural Graphics Research Articles

VI Tournament of Architectural Graphics “Line of Thought” 2024

On 23 May 2024, the VI Tournament of Architectural Graphics “Line of Thought”, established by the Iakov Chernikhov International Foundation in 2018, was held within the framework of the XXIX International Exhibition of Architecture and Design ARCH MOSCOW. The aim of the Tournament is to support the art of hand-made graphics. The prize is a Silver Stylus.

A. V. Bokov’s jubilee exhibition

The exhibition dedicated to the 80th anniversary of Andrey Vladimirovich Bokov opened on the day of his jubilee, 26 September, at the Pushkin State Museum. Two parts of the exhibition included two components of A. V. Bokov’s creative activity – architectural graphics and collages composed of photos of his realised projects.

Archive Study on Digital Collections of Architectural Graphics Representing 19th Century Houses

A research of digitalized archive units from the Drawings and Surveys fund is presented. It is part of the architectural archive at the Institute of Art Studies. The documents were made by architects mainly in the 1950's and contain architectural drawings of represented houses from 19 century from the Bulgarian lands. To explore new interpretative perspectives, I decompose and rearrange old data into new types of digital collections corresponding to qualitative and contextual modalities.

A tournament, not a competition

On May 27, 2023, the jubilee V Tournament of Architectural Graphics “Line of Thought”, established by the Iakov Chernikhov International Foundation in 2018, was held within the framework of the XXVIII International Exhibition of Architecture and Design “ARCH MOSCOW”. The aim of the Tournament is to support the art of hand-made graphics. The prize, the Silver Stylus, was unexpectedly awarded to Marianna Antonova, a beginning architect from St. Petersburg. Architect Andrey Chernikhov, the author of the idea and the President of the Iakov Chernikhov International Foundation, will tell us what the Graphics Tournament is all about.

СУЧАСНІ ТЕНДЕНЦІЇ АРХІТЕКТУРНО-ХУДОЖНЬОЇ ТВОРЧОСТІ ТА АКТУАЛЬНІСТЬ АРХІТЕКТУРНОЇ ОСВІТИ

The article outlines the relevance of the research, identifies the subject of research, the object and subject of scientific research, the problems and methods of research, identifies aspects of scientific novelty, identifies the theoretical value and practical significance of the research. Research carried out within the framework of the scientific activities of the Department of Drawing, Painting and Architectural Graphics, the Department of Architectural Media Design, indicates the need to consider innovative lighting processes as part of practical development directly aimed at adapting the site to new clicks. The article looks at the results of the study of those who developed detailed programs from the disciplines of the departments for architecture students, graphic designers, and methods of depicting the current design solutions in people's lives, and in the modern world. , as the compositional vision of future architects develops, designers. The need for integration of traditional academic and innovative approaches in the field of imagery as a complex basic subject in the profession of architect and graphic designer is highlighted. The article examines current approaches to the understanding and their reflection in architectural solutions of major initial buildings based on the analysis of Ukrainian and foreign evidence. New methods of enlightenment are being developed that support these transformations. Conceptual and practical solutions have been identified in the field of depicting architectural spaces in major initial projects, which indicate current changes in the lighting process system.

Architect Hans Poelzig: a project for Ukraine

The paper examines one of the fragments of the creative heritage of the famous German architect Hans Poelzig: his competition project of the State Ukrainian Theatre of Mass Musical Action for 4000 seats for Kharkiv. The project is viewed through the prism of little-known competitive events of 1930, which makes it possible to decipher its architectural, compositional, urbanistic and functional ideas, to reveal its symbolism. The study is based on the architect’s original drawings preserved in the archive, primary sources of the early 1930s, biographical and critical works of other authors dedicated to the nominees of the Kharkiv competition, as well as on a comparative and meaningful analysis of architectural graphics and textual documentation.

Domenico Gilardi’s Sketch of a Park Pavilion: Aspects of Attribution

This article is devoted to the problem of the attribution of architectural graphics, the identification and analysis of the individual graphic style of Domenico (Dementi Ivanovich) Gilardi, a master of Swiss origin, the chief architect of post-fire Moscow. In spite of the formal, stylistic and iconographic knowledge of the Moscow Empire style, the issue of attribution of architectural graphics to the period remains open. The work of Gilardi is no exception in this respect.The objective of this research is to use stylistic and iconographic analysis of his most outstanding works to form an idea of the nature of his graphic style and its peculiarities. The relevance of the topic is dictated by the need to distinguish the graphic works of Gilardi himself from the sheets created by his pupil — the architect A. Grigoriev (and in the longer term — to identify the “hand” of A. Grigoriev).The method of formal and stylistic analysis and iconographic comparison was chosen. Artistic sources are the most striking architectural and graphic works by Gilardi, which have not yet been studied in detail: several signed drawings, as well as a draft design of a park pavilion from the collection of the Shchusev State Museum of Architecture (the latter was introduced into academic circles by the author and is central in terms of representation). The style of the unrealised design of the park pavilion reflects the historical perspective of birth, development and decline of the Moscow Empire style in one of its variants. The style distinctly refers to the antique, Renaissance and classic monuments.The following complex of problems is being solved within the framework of the research: the genesis of the post-fire Moscow style is presented, the specific features of the architectural graphics of the first quarter of the 19th century are evaluated; the sketch of the park pavilion and the series of several drawings (so called master’s exemplary graphics) are described and analyzed as the basis for the attribution; the work of Gilardi is examined in the context of the global neoclassicism style development.The conducted study, in which the relationship between architectural and graphic style plays a key role, allows us to form an idea of Gilardi’s individual style and approach a more complex issue of attribution, chronology and style in his constructions. The unity of harmony, beauty and technicality of Gilardi’s works is expressed in the juxtaposition of his manner with the ideal of timeless classicism.

Architectural graphics and the experience of space. Freehand drawing and photograph to deepen on communicative qualities in linear perspective

Architecture communication on photo-sharing social networking services like Instagram focuses on photorealism. Meanwhile, the conceptual intention or the experience of the architectural space has less impact in these media. Some architectural graphics techniques are closer to this purpose due to their nature. The main objective is to identify the visual qualities of the architectural space experience from a linear perspective. To do this, the research proposes the design of a visual pattern recognition tool and applies it to pairs of images (photography and drawing) from the same place. The results provide the strategy design based on five variables: the level of human presence, the distortion of perspective, the chromatic distortion, the overlay realism and the emphasis. Finally, the visual summaries lead to values that help to understand the communicative qualities of the experience of space due to their ability to compare main milestones of visual information.

The Concept of an Individual Style in Postmodern Architectural Graphics

The article deals with the essence and genesis of an individual style in postmodern architectural graphics as a special signature of creativity. It considers conceptual and terminological issues regarding the concept of “architecture”, “architectural graphics”, and “an individual style”. Besides, the article shows that the knowledge of architectural graphics makes it a powerful visual tool in any kind of design activity. In the current post-industrial period, manual graphics acts as an individual unit. An individual style is always formed based on a specific personal programme, whose postulates influence the architect’s work. The international relevance of the article lies in a new approach to the concept of “style” in postmodern architectural graphics. In turn, it allows one to discover new methodological guidelines for its formation.

Architectural Graphics - From Inception to Postmodernism

The article is devoted to the little-studied component of architectural creativity - architectural graphics. At the same time, the purpose of the article is three-dimensional: to consider the categorical, historical and postmodern problems of architectural graphics, which will allow to outline a holistic picture of this cultural phenomenon. The article uses the methods of typological, historical and synchronous-cult analysis of both specific architectural artifacts and trends in the development of architectural graphics in general. It has been proven that architectural graphics, as a unique type of graphics, are a means of expressing the creative ideas of an architect. They define, define and correct the direction of his professional searches. Graphics influence the creativity of a design as it serves as a graphical visualization of an architecture. Architectural graphics are the line between the design calculation and the creative imagination of the author. He performs artistic and engineering tasks at the same time. The article deals with the problem of architectural graphics as a specific creative activity, which, as a result of historical development, has formed into a separate genre direction. A number of conceptual and terminological issues are touched upon, including the definition of the very concept of «architectural graphics». The priority features of architectural graphics and variants of its stylistic solutions by different architects and designers have been identified.

Карты и путеводители: тиражная графика XVII века в современном искусствознании

17th-century maps acquire complex narrative frames: the image is combined with the expanded text. In the 17th century, in the European publishing practice, the form of guidebooks of various types has been formed, and a special place in their illustrative series is occupied by urban views, which represent a kind of scientific illustration. The graphic design of maps and guidebooks involves a complex compilation of the pictorial series, maps, landscape views, plans, schemes, and the combination of different types and styles of engravings. The choice of visual series is predetermined by the principle of selectivity and hierarchy of the attractions. The characteristic features of the graphic design of maps and guidebooks are the recognizability of the monuments, the generality of interpretation and schematism, the direct connection with the text, and the dialogue of visual and verbal components. The technique of etching prevails. The generality of the interpretation and the rejection of details are combined with the recognizability of silhouettes, stylistic transformations, and approximations to the aesthetic canons of modernity. The artist refers to the reflection of the realities of everyday life, to the genre approach in the interpretation. The circulation architectural graphics of the 17th century reflect the attitude of the epoch to space and time, interpreting it in the coordinates of the style. The large-scale body of works is united by the following characteristic features: the area is treated as a set of recognizable buildings, the buildings are classified by type, and a unified system of artistic techniques is developed: the panoramic nature of the space, the clarity of silhouettes, stylistic adaptation to the ideals of modernity, tendency towards narrativness, and the reflection of the realities of everyday life. The “inter-genre” nature of publications that combine maps, plans, landscapes, and images of specific structures is widespread, there is no single design principle or similar format, and the practice of using identical prints for different publications persists.

Peculiarities of restoration of architectural graphics on the tracing paper on the example of architect's projects Pavlo Aloshyn

The purpose of the article is to analyse the main technologies of production of the tracing paper, to determine their characteristics and their influence on the state of preservation and methods of restoration. To describe the practical experience of restoration on the example of two projects executed on the tracing paper by architect P. Alyoshyn (projects). Methodology: analyse the art, methods of systematization, comparison, and generalization to determine the optimal methods of restoration and conservation measures for the preservation of heritage on the tracing paper. The scientific novelty consists in the introduction into scientific circulation of a comprehensive study of the main features and the implementation of restoration and conservation measures to preserve the works of architectural graphics on the tracing paper. Conclusions. The analysis of factors that should be considered when carrying out conservation and restoration measures for the preservation of collections made on tracing paper allow us to apply the experience gained in practice of preservation of monuments. It is established that the types and methods of making tracing paper affect the state of preservation and selection of methods for restoration and conservation processes. The successful practical experience of restoration of two works by architect P. Alyoshyn executed on tracing paper - "Concert hall" and "Facade of the Zemsky house" is described.

Indicators of acidity and methods of its neutralization during preventive conservation and restoration of architectural graphics

The purpose of the article is to analyze the impact of pH of the paper on the state of preservation, to describe the main methods of neutralization of acidity in the implementation of restoration and conservation measures for the preservation of architectural graphics. To indicate the need to monitor the pH state when preserving paper-based collections. Methodology. To analyze the art, methods of systematization, comparison, and generalization to determine and describe the optimal techniques and experience for the preservation of collections of architectural graphics on a paper basis. The scientific novelty consists in a comprehensive study of the relationship between pH and the state of preservation of architectural graphics and methods of neutralization of the acidity in the process of conservation and restoration. Conclusions. It is established that the acidity is due to the parameters of paper production, due to natural aging processes, air pollution, adsorption of acid impurities in the paper, storage conditions, a technique using certain pigments, and so on. It is necessary to monitor the acidity when implementing preventive conservation measures as it is an important indicator of physico-chemical changes in the paper. Acidity accelerates the process of hydrolytic cleavage of cellulose molecules and is one of the reasons for the loss of paper-based collections. A large number of monuments requires conservation and restoration measures to neutralize the pH. Existing methods of stabilization and buffering of acidity are effective, but the search for new, easier to implement, cheaper solutions is ongoing. The new methods can have a longer effect and can be widely used in collections.

Tactile Architectural Drawings—Practical Application and Potential of Architectural Typhlographics

The subject of research conducted by the team from the Bialystok University of Technology is architectural typhlographics—a kind of specialised tactile drawings dedicated to people with visual impairments. The aim of the publication is to present the specificity of this type of architectural graphics and to indicate the areas of its usefulness. Based on professional experience, available thematic literature, as well as specialist consultations, the authors made a multi-criteria analysis and valorisation of the obtained set of examples of architectural typhlographs. The result of the research is to indicate the main fields of current application, and to outline the potential and possible directions of further development of tactile architectural drawings. The specifics of the examined graphics are also presented, including their functionality, possible forms of representations and differences from typical architectural representations. The historical background of the typhlographics as well as the main principles of their creation are presented, as the supplement and basis for the author’s considerations. The research also showed the broad utility and social values of architectural typhlographs and the priorities for their further development.

Advances in Engineering Graphics: Improvements and New Proposals

The study of graphic communication techniques that engineers, architects, and designers use to express ideas and concepts, or the graphic expression applied to the design process, is becoming increasingly important. The correct interpretation of graphic language allows the development of skills in the training of an engineer or architect. For this reason, research on this topic is especially valuable in finding improvements or new proposals that help toward a better understanding of those techniques. This Special Issue shows the reader some examples of different disciplines available, such as engineering graphics, industrial design, geometric modeling, computer-aided design, descriptive geometry, architectural graphics and computer animation.

УДОСКОНАЛЕННЯ ПРОФЕСІЙНОЇ ПІДГОТОВКИ СТУДЕНТІВ-АРХІТЕКТОРІВ В ПРОЦЕСІ ХУДОЖНЬО-ОЗНАЙОМЧОЇ ПРАКТИКИ З ЖИВОПИСУ

The article substantiates the relevance of the research topic, defines the purpose and objectives of the study, the object and subject of scientific work, the state of the problem and research methods, traced aspects of scientific novelty, noted the theoretical value and practical significance of the work. The research, conducted within the scientific activity of the Department of Drawing, Painting and Architectural Graphics, indicates the need to consider innovative educational processes as part of the practical activities of architects aimed at adapting the city to new challenges. The article considers the use of research results in the development and improvement of programs for artistic and introductory practice for students of architecture and methods of depicting the architectural environment in the open air, which develops the compositional thinking of future architects. The necessity of integration of traditional academic and innovative approaches in teaching painting as a complex subject in the profession of an architect is substantiated. Theoretical bases of painting taking into account features of professional activity of experts in architecture are opened. The conditions for improving the creative training in the system of professional training of architects in the university are revealed. A comparative analysis of student works depicting the urban environment in leading domestic architectural universities. The classification of images of the image of the urban environment during art-introductory practice is carried out. The sequence of stages of performance of the task on the image of objects of architecture in the city is offered and theoretically substantiated. When teaching drawing to students-architects, it is proposed to take into account a number of additional, structural lines for organizing the composition of the sheet, as well as the method of «intersections» for analysis and correction of the created spatial-plastic illusion of depth of depicted objects on the plane. The article considers current approaches in education and their reflection in the architectural solutions of higher education institutions based on the analysis of Ukrainian and foreign experience. New methods of education that correspond to these transformations are being studied. Conceptual and practical solutions in the field of depiction of architectural spaces in higher educational institutions that correspond to current changes in the system of educational process are revealed.

Architecture and Design. Interior Design and Architectural Graphics

This article gives you a brief overview on architecture and design. It is also stated that interior design and architectural graphics are one of the important directions in architecture

Modern experience of applying of enzymes in restoration of architectural graphics

Modern experience of applying of enzymes in restoration of architectural graphics

АРХИТЕКТУРНАЯ ГРАФИКА КАК СРЕДСТВО ФОРМИРОВАНИЯ ПРОФЕССИОНАЛЬНЫХ КОМПЕТЕНЦИЙ АРХИТЕКТОРА НА ОСНОВЕ ИЗУЧЕНИЯ ПАМЯТНИКОВ АРХИТЕКТУРНОГО НАСЛЕДИЯ

В настоящей статье даны методические рекомендации по организации практической проектной деятельности в процессе изучения памятников архитектурного наследия, а также рассматриваются возможности формирования профессиональных компетенций студента-архитектора средствами архитектурной графики.

Architectural Graphics Research: Topics and Trends through Cluster and Map Network Analyses

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.