Timbre

Drawing Is/ Not Building showcased three different approaches to architectural drawing, focusing on drawing's material and conceptual terrain across three radically different practices. Seventeen practitioners were asked to contribute, offering contemporary viewpoints on architectural drawing and present these in visual and textual form as a complimentary component of the publication.

The design studio: fabricating a sense of architecture in drawing

The purpose of this paper is to provide a platform for investigating the relationship between the student and the tutor via the design drawing and in particular the idea that what gives grounds for architecture to embody something is what is imagined is expressed in the design drawing. It is suggested that in architectural education the sense of architecture's fabricated properties find their apparent expression from the convergence of the tutor and student toward these drawings. In an act of perceptual contortion, there is an endeavour to reconcile what they see with what they think the drawing might suggest. Part of this mental reconstruction is based on the expectation that something is in the drawing to see. The drawing is produced based on the supposition that it will be read, generating a particular conditioning of the student's attitude toward the relevance of the drawing. It is engaged as the receptacle of ideas about what architecture is. The result is that sometimes the emphasis on the drawing as something to be consumed implies a permeation of the supposed sensory qualities of architecture imagined by the student designer, the portrayal of which is indubitably a product of the medium. While this might be commonly experienced in studios, it is proposed that this may be perpetuated in architectural education not merely by the act of drawing itself and what the drawing is, but how the student/tutor exchange contributes to the consciousness of what is portrayed.

Drawing information : what's a map?

Mapping has in recent years become one of the most common architectural strategies to approach the knowledge of reality. Its real or apparent objectivity has led, in many cases, to consider this system as the only valid approximation to an object of study, discarding other more synthetic, intuitive and impervious procedures of systematic analysis for being partial and subjective. Leaving aside these erroneous exclusions, it is undeniable that the sophisticated contemporary development of maps has produced an enormous range of possibilities.

Drawing process : what's a diagram?

Within the architectural universe there have been numerous attempts in recent years to define the term diagram. Etymologically, it means exclusively “through graphic representation”, which does not clarify much (from the Greek, dia, through + gramma, graphic representation). Jennifer Sigler defines it as the minimum graphic element that explains a concept. Federico Soriano borrows from Federico García Lorca, and claims that diagrams are the marrow of form or content. Efforts to clarify the nature of these powerful graphical representations have multiplied at a similar rate as its ever-increasing use in contemporary architectural projects.

Introduction: the drawing bazaar

Introduction to the research book explaining the reasons behind the need of this publication in the context of architectural education, highlighting the double value of drawing for architects: instrumental as a fundamental tool that qualifies the design process; and autonomous, contemplating the drawing of the architect as a final product in itself beyond the mere illustration and documentation of the project of architecture.

Understanding Concepts of Efficiency and Effectiveness in Architectural Facilities Space Planning and Design

Although contemporary literature treats efficiency and effectiveness extensively, virtually no objective understanding of both is found in architectural facilities space planning and design. It is imperative that both concepts are definitively explained as they apply to these disciplines. Hence, the contemporary views of both concepts are reviewed and attempts made to interpret them within more amenable contexts. The objectives are (1) to objectively elucidate the factual differences between efficiency and effectiveness; and (2) to contribute to their better understanding in architectural facilities space planning and design. Diagrammatic and mathematical means are engaged to demonstrate efficiency and effectiveness in these fields.

Material properties under drawing and extrusion with cyclic torsion

A copper bar was drawn while a lead bar was extruded through a cyclically twisting die in a specifically designed experimental rig. The drawing/extrusion load fluctuated at the same frequency as that of die twisting. The load tended to be at a level of monotonic deformation when the die was changing direction. The degree of the reduction in load for both the drawing and extrusion processes depended on the deformation conditions and requires optimisation for industrial application.

Architectural frontier/spatial story : the problematic of representing the everyday

The "tools" of architectural discourse—maps, plans, sections, elevations, photographs—are one way of representing an architecture of the everyday. In this article, the theoretical problematic of representing the everyday is investigated through a specific site, Zavoj, a village in the Republic of Macedonia. How do we look at, document, and analyse a place that is outside the map of western architectural interest? The tools of architecture are staged as the mechanics of an architectural frontier against the narratives that describe the processes of dwelling, the spatial stories of the inhabitants of the village. Stories and words of a fictive reality intervene in the clear geometry of architectural representation and thereby produce a complexity to the representation of the everyday. The article, however, does not settle within this hypothesis; rather, it invests the siting of a particular place as a struggle for the discourse.

The architectural edifice and the phantoms of history

Starting with the literal and physical role of the "ground," this article attempts to bring this "ground" into a discursive arena. In particular, the author is thinking about the period at the end of a war, the period in between destruction and reconstruction, exemplified in some classic postwar films in which the architecture of the city is in a state of ruin—deformed, eroded, and dark—but there is no further destruction. The article calls this period "a gap of history" and its investigation is set against a claim that architecture is a reconstructive practice, that it is enlightening and aspiring. History, on the other hand, is captured by scenes of the battlefield and dominated by a narrative of war and destruction. The article makes reference to the real and fantasy desire for destruction (war and history) and reconstruction (architecture), and how through the connecting plane of the ground architecture is entangled in war and history of destruction as it figures in reconstruction. Architecture is contingent on history as discursive—history that is not unified, fixed, or evolutionary but rather contested and rewritten within a conflictual battlefield.

Interaction between the coating characteristics of galvanneal steel and forming parameters during flat die drawing

Galvanneal steel is considered to be better for automotive applications than its counterpart, galvanized steel, mainly because of its superior coating and surface properties. Galvanneal steel is produced by hot dipping sheet steel in a bath of molten zinc with small, controlled, levels of aluminium, followed by annealing which creates a Fe-Zn intermetallic layer. This intermetallic layer of the coating improves spot weldability and improves subsequent paint appearance. However, if the microstructure of the coating is not properly controlled and forming parameters are not properly selected, wear of the coating could occur during stamping. Frictional sliding of the sheet between the tool surfaces results in considerable amount of coating loss. An Interstitial Free steel with a Galvanneal coating of nominally 60g/m2 was used for the laboratory experiments. Flat Face Friction (FFF) tests were performed with different forming conditions and lubricants to simulate the frictional sliding in stamping. Glow-Discharge Optical Emission Spectrometry (DG-OES) was used to measure the change in the coating thickness during sliding. Optical microscopy was considered for imaging the surfaces as well as an optical method to compare the changes in the coating thickness during the forming. The change to the Galvanneal coating thickness was found to be a function of forming parameters.

A general rooted tree drawing algorithm

A general rooted tree drawing algorithm is designed in this paper. It satisfies the basic aesthetic criteria and can be well applied to binary trees. Given an area, any complex tree can be drawn within the area in users' favorite styles. The algorithm is efficient with O(LxNxlogN) time complexity and self-adaptive as well.