Architectural graphics and architectural design

Architectural pattern as one of the means of design drawing

Architectural drawing as a means of expressing a project plan

Architectural sketch as a means of finding an architectural idea

· Types of architectural graphics

· Architectural sketching

· Sketch execution requirements

· Orthogonal drawing

· Aksonometric drawing

· Perspective drawing

· Requirements for architectural drawing equipment

· Architectural picture

· Requirements for the technique of execution of an architectural pattern, drawing up drawing.

· Techniques for constructing a pattern of drawing drawing drawing

· Poetage design of the design process

The design of the architectural object cannot do without an imaging display of architect's designs in graphics and volumetric models. Most of the visual information arising in. The design process is transmitted and formed in the chart. To the second half of the XVIII century, when the theory of an image of an architectural object in orthogonal projections was universally recognized, the main types of architectural graphics were formed, which to date reflect the tasks of the project process and are called sketch, drawing and architectural drawing. Each of the named types of architectural graphics has its own visual specifics, meets certain requirements. The nature of the design process is constructed in such a way that the search for architectural idea is carried out with the help of a sketch, and the design of the architectural drawing is using architectural pattern.

Architectural sketch and architectural drawing.The visual form of architectural sketch and architectural pattern is very similar, they are distinguished only by the target image. The architectural sketch is a way to improve the creative plan of the architect. Architectural picture - any hand drawn work of the architect, the purpose of which does not necessarily have professional goals. The plot of the architectural picture may have an independent value (sketch from nature, graphic pattern - illustration, etc.), but it can be an integral part of the drawing, sketch. The sketching skills, drawing are important for the architect, because with their help professional designs of the architect are recorded, its graphic skill, creative abilities are being improved. In addition, the skills of the architectural pattern are necessary for the image of the surrounding and natural environment, equipment elements, since with their help the architectural object acquires real dimensions, correctly relates to man, nature. The architectural sketch is the form of the visual search from which the project process begins. The main type of graphic image in architectural activities is the drawing.

Architectural drawing- This is an image that transmits information about the size, form and design of the object.

In a modern drawing, the construction of an object is necessarily executed according to the laws of descriptive geometry. The drawing is applied at all stages of design work, each of which is characterized by its drawing graphics manner (sketch drawing, measurement drawing, work drawing, demonstration drawing, croc).

Architectural sketching

Sketch- Fine form of project search, which in most cases is executed by the author from hand.

It is quite obvious that the sketching is a process that predicts the features of the future facilities. The organization of this process depends on the individual creative features of the architect, the traditions of the professional environment and the architectural school, in which the personality of the architect was formed.

Moreover, each specialist is clear that the sketching is a complex process, the development of which involves the different complexity of the sketch at various stages of finding the idea. In Russian architectural practice, the following classification of the sketch was adopted: "Sketch idea" - search for the main contours of the image of the projected object; "Fore-sketch" - an in-depth sketching of the idea of \u200b\u200bthe object; "Opening sketch" - sketching development of the project, sketches of design drawings.

Below will consider the features of each of the forms of searching for architectural design.

Sketch idea.Sketching is a creative search, in the process of which the architect gradually clarifies, deepens, complements the image of the architectural theme. The initial image is a vague, fuzzy representation of the architectural object, reflecting only the general outlines of the idea. The content of the image is so generalized that it can be expressed by the image - a sign.

Fore-sketch.If the search development of the idea is only the definition of general image contours, then the purpose of the sketches is the definition of all parameters of the object required for its design development. At different architects, this process takes not the same time on time, it is based on a purely individual scheme, but in the overwhelming majority of cases at the stage of the form-sketch, a qualitative refinement occurs. If the idea of \u200b\u200bthe object was not finally formed, then in the odd sketches there is a search for its options.

The specifics of the graphic execution of the for-sketch is that the auto author needs an understanding of the differences in the objectivity of the sketch idea as the search for the ideas of the project theme, and the objectives of the development of these ideas in the for-sketches. The very concept of "development of the idea" involves a higher degree of concreteness of the image in the form-sketch.

Gradually acquired a clear understanding of the rhythm of project search, work on the odd sketch became the base for the next stage of the examination - preparation for the work sketch.

Sketch.The purpose of this sketching is to find out the composition of the design drawing or the complex of design drawings. The working sketch is a utility schedule that detects not only the parameters of the object being designed, but also the features of its image in the drawing graph. In architectural practice, two varieties of the working sketch are known.

The first variety of working sketch - sketch drawingwith an image made by hand or with drawing tools, taking into account the scale of the image or without that.

The second variety of working sketch - design exposure scheme.The architect comes in the work when it is necessary to decide which the number of drawings is enough to disclose the idea of \u200b\u200bthe project plan. The number of drawings depends on the volume of project work, the level of cultural preparation of the customer. The decision made determines the volume and content of the exposure consisting of several drawings.

Requirements for the technique of sketching

Work on the sketch is a significant part of the design process. From how efficiently the architect sketches, the final result of its labor depends.

In work on the sketch idea,when the presentation of the object is still very non-specific and vague, it is advisable to use simple and automatic pencils with soft pylographs, coal and coal rods, sanguine, felt-tumbers with a thick felt. It is with the help of these tools it is easier to find the first not very specific contours of the image of the future facilities. It is convenient to sketchize on small sheets of sketch paper of standard sizes (in 1/8; 1/6 of the standard drawing sheet format), which can be decomposed by rows and compare the results obtained. You can sketch and on large paper formats (in 1/2; 1/4; 1/6 of the standard drawing sheet format), when many sketches are fested on one visual plane, which is very convenient for their comparison.

In the work on the odd sketch, when composite and plastic image parameters in general were determined, it is advisable to apply tools with which you can get a high-quality linear image - rapidographs, felt-tumbers with a thin felt, micrographs. This does not exclude work on the odd-sketch using coal, Sangina, thick griffel. Linear graphics are so concrete that it is easier to designate the sketching contours of the facades, plans, promising drawings, revealing the picture of plastic, constructive and composite features of the object. In accordance with the nature of the instruments used for this stage of the thumbnail, special paper is used - with a smooth fine-focus surface (Watman, tracing, millimeters, etc.).

In the development of the working sketch,for graphics of sketch drawings, sketches of the design exposition apply tools with which you can get a coatless expressive image - Pencils are simple and automatic with soft blades, felt-tumbers with medium and thick

fetras, rapidographs with a thick needle (o, 5; 0, 7; 0, 8 mm). The use of these tools makes sketching graphics easy to perceive, expressive, easily readable. In accordance with the nature of the instrument, the paper of relevant quality is also elected. For felt-tumbers and pencils with thick pylographs, coal and sanguines you can use any paper. To use rapidographs, paper is used with a smooth surface.

Francis D. K. CHING "ARCHITECTURAL GRAPHICS" John Wiley and Sons,
Francis D. K. Chin "Architectural Graphics" John Wiley and Sons, 2015, 267 pp (72.0 MB. PDF)

Architectural graphics - Bestseller among popular architectural design guides, one of the world's leading experts in the field of architectural design - Francis D. K. Ching. In the updated fifth edition (the first time 40 years ago), the author considers the basic principles of using graphic tools for creative embodiment of architectural ideas into effective visual solutions.

Using the original historical drawing and drawing, for effective theme illustration. This edition contains new information on the orthographic projection of 3D models, with improved reproduction of lines thickness, scale and sizes, so that in the future drawing to show some of the most difficult species. Architectural graphics is a key tool for visualizing the design by expressing on paper or on the screen. This book full guide to develop skills, and the subsequent development in creating effective design solutions.

In this book you will find:
- Image different species subject, parallel lines and;
- various technical techniques of interiors images;
- the method of transferring the depth of the image by tone, with different light sources;
- Presentation projects with their development technique.

ISBN 978-1-119-03566-4 (Paperback); ISBN 978-1-119-07338-3 (EBK);
ISBN 978-1-119-07350-5 (EBK); ISBN 978-1-119-09099-1 (EBK)

Preface (EN) and

Forty Years Ago, The First Edition of this Text Introduced Students To the Range Of Graphic Tools, Techniques, And Conventions Designers Use to Communicate Architectural Ideas. The Prime Objective Behind Its Original Formation and Subsequent Revisions Was To Provide A Clear, Concise, and Illustrative Guide to the Creation and Use Of Architectural Graphics. While retaining the clarity and visual approach of the earlier editions, this sixth edition of Architectural Graphicsis unique in its use of digital media to convey and clarify the essential principles of graphic communication.Advances in computer technology have significantly altered the process of architectural drawing and design .

Current Graphics Applications Range From 2D Drawing Programs to 3D Modelers and Building Information Modeling (BIM) Software That Aid in the Design and Representation of Buildings, From Small House to Large and Complex Structures. IT IS Therefore Important to Acknowledge The Unique OpportUnities and Challenges Digital Tools Offer In The Production of Architectural Graphics. Whether A Drawing Is Executed by Hand Or Developed With the Standards and Judgments Governing The Effective Communication of Design The Same.

The OVERALL CHAPTER ORGANIZATION REMAINS THE SAME AS IN THE FIFTH EDITION. Chapters 1 and 2 Introduce The Essential Tools and Techniques of Drawing and Drafting. While digital tools can augment traditional techniques, the tactile, kinesthetic process of crafting lines on a sheet of paper with a pen or pencil remains the most sensible medium for learning the graphic language of drawing.Chapter 3 introduces the three principal systems of pictorial representation- MultiView, Paraline, And Perspective Drawings-and Analyzes in A Comparative Manner The Unique viewpoints afforded by Each System.

Chapters 4 through 6 then focus on the principles and standards governing the conventions and uses of each of the three drawing systems, concepts that apply whether an architectural graphic is created manually or digitally.The language of architectural graphics relies on the power of a composition of Lines to Convey The Illusion of a Three-Dimensional Construction or Spatial Environment on a Two-Dimensional Surface, Be It A Sheet Of Paper or a Computer Screen. While Digital Technology May Have Alterated Perspective, Paraline, and Orthographic Projections, A Fundamental Understanding of What Each of the Three Drawing Systems Conveys Is Required of All Designers. Each Drawing System Provides A Limited View of What We Are Designing and Representing. And An Appreciation For What These Viewpoints Reveal-and Conceal-Remains Indispensable in The Design Process.

Download the book for free 72.0 MB. PDF.

Architectural Graphics. Video

Architecture

Architectural graphics: manual or computer?

Identification number of the Informregister: 0420700020 \\ 0049

In an article focused on students of the initial courses of the architectural faculty, the aesthetic and functional features of manual and computer architectural graphics are revealed in their connection with the design process, are given. guidelines on the selection and use of architectural graphics.

Keywords: Architectural Graphics, Computer Graphics

One of the distinguishing features of computer graphics, in our opinion, is that any drawing performed on the computer formally looks very professional. There were times when on the production of accuracy, geometrical, accuracy of lines and stains drawing, the drawing of the entourage and Staffezha's student leaving years of study. It was also the case with the study of descriptive geometry. Now all this can automatically give a computer program to master the foundations of which need much less time. In the context of traditional students of the architectural faculty of acute lack of time, computer graphics seems to be a big temptation.

Often it turns out that for many students, the project is an obstacle to getting a diploma and making money. Therefore, they strive to fulfill it as soon as possible, and their choice in favor of computer graphics is due to the above reason. Unfortunately, we have nothing to argue. This article is to some extent an attempt to understand the use of computer simulation in the architectural design and features of aesthetics of traditional manual and computer graphics.

Now most of the architectural firms and the project bureau have already completely passed onto computer graphics, this is explained by the fact that the computer is indispensable in the working design. But there is a big difference between the working and sketch projects: the working drawing is only needed in order to transfer information, and the sketch project not only transfers information, but also is a work of art, it, like the architectural object itself, combines the functional and aesthetic side . Therefore, we do not care at the Academy, in which chart a sketch project is performed. For us, computer graphics is a question of aesthetics and design methods.

Computer graphics are more productive, faster and significantly more economical than manual. This means that it is more modern. And yet we think that while hand graphics remains a matter of aesthetics, it cannot be outrageous, because aesthetics, in our opinion, does not become obsolete. In fact, it is now unlikely to say that F.Gii is better than A.Palladio.

Computer graphics have a special, its own aesthetics, in addition, as the history of the last decades shows, it is inextricably linked to the design process itself and in this, according to many researchers, its true entity. According to such masters as F.Gii, V.Prinks, H. Svishinsky, Ben Van Berkel, Erica Van Egeraat and other deconstructivists, computer simulation for them is an image of thinking. All stages of design These architects are performed using a computer, from here, such impressive results occur.

For example, if you take a project of the concert hall of Walt Disney in Los Angeles, then F.Gii performed from hand only the first free sketches, more resembling expressionistic schedule than architecture. Next, they were scanned and translated into 3D models with which further work was followed (Fig. 1). The final computer feed was the natural conclusion of this work. Other deconstructivists also design, this is the manifestation of their creative concept and style of thinking (Fig. 2,3).

Therefore, if you are a convinced supporter of deconstructivism, then you would like to use the computer at all stages of design, and not just to feed. In any case, such a position seems clear and organic. By the way, trying to design in this way, you may, change your attitude and to these areas of modern architecture, and to computer modeling.

If the architecture of your object is in no way connected with the aesthetics of computer graphics, which is used only for feeding or contradicts it, it can be perceived as a tendency to violate the integrity of the entire project. Although if we are talking about the directions of modern architecture, it is now difficult to imagine this option.

If you are guided in the design of the aesthetics of the selection architecture (eclectic), it would be logical to choose graphics depending on the situation. So, the children's playground can, in accordance with this concept, executed, say, in a manual linear graphics with the introduction of color washout watercolor, and the automotive exhibition pavilion is on the computer. The selection architecture is now rational, as in the XIX century, when it appeared, therefore, representatives of this direction attract the ability to create a spectacular realistic graphics in engineering. The main principle of the selection architecture, which consists in the separation of aesthetic and utilitarian, is the expression that the architect is engaged in the development of the project, and the submission is a visualizer. Thus, the computer allows you to turn architectural graphics to a question purely technical (Fig. 4). In addition, the computer makes it possible to make stylization for any known species of graphics.

Suppose your creative concept, although rationalist and technocentric, but alien to the expressiveness of deconstructivists (the concept of high-tech architecture, for example), and you are not interested in creating spaces and forms of such difficulty that it is only a computer. You create a space that is quite affordable by the usual human imagination and therefore you do not need a computer at the decision stage of solutions. However, the aesthetics of computer graphics itself is quite consistent with the general building of your project. Then the situation naturally occurs when computer graphics are used only as feeding (Fig. 5). Although it is worth noting that in the 70s and 1980s, when computers have not yet been used so widely, representatives of this direction of architecture used, of course, only manual graphics. But then High-tech himself was different: he only portrayed those high technologies and techniques that were not yet. Also, apparently, it was the case with graphics of high-tec: she portrayed the future computer graphics (Fig. 6). Now computer graphics, in our opinion, is an integral part of the high-tech architecture. Paradoxically, n.foster and today sometimes uses manual graphics to feed its projects, thus humanizing them (Fig. 7).

Environmental architecture for which the attraction of attention to global changes ambient, the orientation of a person and his unity with nature, the use of natural natural materials, also actively uses the computer, since it is still seen as a means able to solve an impaired environmental catastrophe, to form and maintain a favorable environment.

In recent decades, this direction appeared in modern architecture As a new minimalism and is connected, first of all, named Tadao Ando. If the focus of the high-tech architecture is the technique, and in the environmental architecture a person, then Tadao Ando is nature. His buildings, despite the geometry, is rather part of the surrounding landscape than an independent architectural object in the generally accepted sense of the word. His architecture operates with air, light, sky and earth. As clearly out of the name, in this architecture, the minimum of the details and the minimum of everything, and this is achieved, according to V.A. Iconnikova, not by excluding superfluous, like L. Misa van der Roe, but by generalizing the form before turning it as if into part of the Earth. From here and emphasized the simple geometry, the use of natural, simple natural materials. For Tadao Ando, \u200b\u200bthe computer serves as a tool that helps geometricalization, which means simplify and summarize the architectural form (Fig. 8).

In our opinion, the classical architecture and the Renaissance architecture is equally well looking both in the sophisticated manual and in computer graphics. This is probably due to the fact that the computer graphics is also rationalistic as the classic in architecture. If you compare computer graphics with classical European painting, it becomes obvious that ideally, and the other tend to complete photorealism (Fig. 9).

It is possible that rational-logical formation attracts you, as in the classics, from a person, in which aesthetics is more important than the functional and constructive expediency, freed from the details, far from the ground and aimed at searching for eternal archetypes of European culture. In this case, as in classical architecture, both computer and hand graphics are possible, but the computer still seems to be currently preferable (Fig. 10).

But the architecture of A.Goodi is most likely to be drawn only by hand. His architecture is so sensual and alive that computer rationality seems completely incompatible with it (Fig. 11). A.Garati himself, especially in the mature period of his creativity, often did not even fulfill the necessary drawings, preferring to do free and generalized patterns, as well as models of structures.

Le Corbusier did not have a computer, but it can be assumed that if he had he had, he would actively use computer graphics. The fact is that, as you know, one of the main ideas Le Corbusier consisted of the need to save and create cheap housing, and one of the main advantages of computer modeling is its effectiveness and low cost. The insension of manual graphics is precisely in its high costs compared to the computer.

F. Lita is called the last romantic of the 20th century, but it can be assumed that he would take computer graphics and computer simulation. F. Lita believed, and this quite consisted with his concept of organic architecture that drawings and drawings are needed only as a means of transmitting information from the architect to the customer as a means of negotiating. Thus, this position is also possible.

As mentioned first, any drawing made on the computer (mean not only linear orthogonal drawings of plans and cuts, but also polychrome drawings of facades, axonometry and perspective) always looks very architecturally. This is explained by the fact that the computer is essentially ensuring the absolute accuracy of all images, they cannot be random lines, figures and pixels (the exception is the case when the computer imitates manual graphics). And for architectural graphics, accuracy is one of the key characteristics, one of the main criteria for its quality in the sense of functionality. However, functionality is not all.

Computer accuracy in the chart turns into a perfect completion, and this feature is genetically present in any computer drawing, regardless of its quality and execution stage. The classic principle "Next, nor subtit,", as I.V. Zholtovsky said, in any of its form, it was completely finished, and thanks to this internally stationary. And the immobility of computer graphics is its inorganicity in the Right sense of the word.

Apparently, developers and users of computer graphics packages have always attended the feeling of this limitations, and a huge number of filters, let's say, in Photoshop, imitating manual graphics - this is an attempt to overcome this limitation. We admit that you can use the compromise that Adobe Sistems is offered, but then your project will acquire several theatrical features. It is worth adding that this option is quite acceptable in the architecture of postmodernism, since it creates duality: it, as it were, manual and computer graphics at the same time (Fig. 12).

A good hand architectural graphics has conditional accuracy, it is not photographic and thanks to this, as it seems to us, much more organic than a computer. In this and consists of a paradox: hand-made graphics inherently more humane, free and movable, closer to nature, more environmentally friendly than a computer, and due to this it seems in something even more modern.

It turns out that manual graphics due to the scale of man and organicity, much more humane than the computer. At the same time, we absolutely do not argue with the tastes of those who attract the breathtaking, logicality, rationalism, fantastic speed and completion of computer graphics. We just want to emphasize that manual graphics have unique properties that are deprived of computer graphics, and vice versa.

Summing up, I would like to say that, in fact, it does not matter to us which graphics you choose - it is important for us that this choice is not accidental.

Fig.1. Arch. F.Gii. Walt Disney Concert Hall, 2003. Photo taken from Architecture Now! / Ed. Jodidio pH ..- Koln: Taschen, 2001

Fig.2. Coop Himmelblau 2007 BMW Center in Munich 2001-2007 Access Mode:
http. : //www.coophimmelblau.at/index_frames.php? /Projects/bmw.php

Fig. 3. Coop Himmelblau. Projects of the new philharmonic in Paris (2007) and the filmcomplex in South Korea (2002-2010). Access mode:
http://www.render.ru/gallery/show_work.php?work_id\u003d39833&gal_rub\u003d2&gal_add\u003ddiscuss#work

Fig.4. Visorization of the perspective of the hotel and cottage. Access mode:
http://www.render.ru/gallery/show_work.php?work_id\u003d39833&gal_rub\u003d2&gal_add\u003ddiscuss#work

Fig.5. Arch. N.Foster. High Speed \u200b\u200bStation railway, Italy, Florence, 2003. Photo taken from the book Norman Foster: Monographers on Architecture. - Milan: L`Arca Edizioni, 1997

Fig. 6. Arch. N. Foster. Draft Samuel Beckett Theater, Oxford, 1971 Access Mode:
http://www.fosterendpartners.com/projects/0137/default.aspx

Fig. 7. Arch. N.Foster. Millennium Tower, Japan, Tokyo, 1989 Photo taken from the book Foster: Monographers on Architecture.- Milan: L`Arca, 1997.

Fig. 8. Arch. Tadao Ando. Church on the water, oh. Hokkaido, Japan, 1994. Photo taken from Jodidio Phone. Tadao Ando / Jodidio Ph.- Koln: Taschen, 2001.

Fig. 9. Fasting of the Roman Doric order, student work from the Department of the Department of Opa Uralgha.

Fig. 10. Arch. M. Botta. House in Breganzone, Switzerland, 1988, Access Mode:
http://www.botta.ch/page/pr%201984_86_casageninibreganzona_en.php.

Fig. 11. Arch. A.Goodi. House Batlo, 1906. Photography taken from Gaudi Washhead album: Dibuixat Pels Estudiants de L`seola Tecnica Superrior D`Arguitectura de Barcelona: 1985.

Fig. 12. Arch. R. Wanturi. Edison School, New York, 2002. Access Mode:
http://www.vsba.com/projectViewer.php?id\u003d710

Bibliography

1. Architecture Now! / ED. Jodidio Ph.- Koln: Taschen, 2001.
2. Gaudi: Dibuixat Pels Estudiants De L`seola Tecnica Superrior D`Arguitectura de Barcelona: 1985.
3. Norman Foster: Monographers on Architecture.- Milan: L`Arca Edizioni, 1997.
4. Jodidio pH. Tadao Ando / Jodidio Ph.- Koln: Taschen, 2001.

Internet resources

1. http://www.coop-himmelblau.at/index_frames.php?/projects/bmw.php.
2. http://www.coop-himmelblau.at/index_frames.php?/projects/music_cloud.php.
3. http://www.coop-himmelblau.at/index_frames.php?/projects/bbc.php.
4. http://www.render.ru/gallery/show_work.php?work_id\u003d39833&gal_rub\u003d2&gal_add\u003ddiscuss#work
5. http://www.fosterendpartners.com/projects/0137/default.aspx
6. http://www.botta.ch/page/pr%201984_86_casageninibreganzona_en.php.
7. http://www.vsba.com/projectViewer.php?id\u003d710

• 10561 View

Modern architectural graphics / K. G. Zaitsev. - Moscow: Publisher of Literature on Construction, 1970. - 204 p., Il.

Made by the Ministry of Higher and Secondary Special Education of the USSR as a tutorial for students of universities, students in the specialty "Architecture"

This book is the first attempt to analyze the graphic material of modern architectural design. The goal is to show how and what means of graphic art are detected in the drawing content and purpose of the designed facility.

The disclosure of the character of fine means, materials and methods of their creative use in the practical activity of the architect is based on the methodology for studying modern architectural graphics. The adopted method of separate and consistent study of artistic images of the image, with which the architect deals with the preparation of the project - line, tone, lighting, colors corresponds to the process of graphic performance of the drawing. In addition, this method allows the most comprehensive and deeply examine these means of graphics and their capabilities. This method has identified the structure of the book. The study of funds and technology images is not considered as the recommendation of some rules, recipes. The basic principles of architectural graphics are determined, suggested by all historical experience and our modern practice.

The book includes architectural projects and drawings of architecture masters, as well as training projects of the Moscow Architectural Institute and other materials, the selection of which and the location in the text are caused by educational and methodological tasks in accordance with the adopted method of studying the subject. The contents of the textbook does not claim to be comprehensive to the fullness of all the possibilities of architectural graphics, which go beyond the limits of the required tutorial material.

The book includes the introduction and three chapters.

Introduction introduces S. common tasks and the specifics of modern architectural graphics.

The first chapter of the book outlines the main theoretical information relating to graphic backgrounds of the image and artistic expressiveness.

The second chapter is devoted to the study of the possibilities of materials and image technology.

The third chapter is devoted to the analysis of graphics of architectural project and examples of creative use of funds, materials and articles of articles of graphics with modern architecture masters.

The book is a teaching aid for students of architectural and construction universities. It can also be used by designer architects.

Introduction

Graphics - type of visual art, main artistic means which are line, tone, light and color. The graph prevails a linear image method.

Architectural graphics are an application of graphic art techniques to fine tasks arising in the creative process of creating a project or measurement. The graphics enters the necessary component into the most creative process of architectural design, and, accordingly, its means and techniques change at different stages of this process, starting with the sketch and ending with the development of work drawings.

In the initial design stage, architectural graphics are used: as an element of composite searches for the general architectural idea of \u200b\u200bthe future structures and the means of rapid fixation of the initial options. In the future, as an element of developing an accurate architectural drawing in the process of concretizing the plan and bring it to a complete project intended for implementation.

When we talk about the role of graphics in the first aspect, we must proceed from its assessment, as graphic art, which uses mainly drawing methods. As the architectural design and availability of the project develops the role of graphics, as a means of composite searches, is inferior to the graphical execution of the project, which uses mainly the drawing methods (orthogonal projections, prospects and axonometry). At this final stage of the project, graphic arts have a different, but equally important. Graphics of this stage predominantly and is the subject of study.

The ultimate goal of architectural graphics lies in the image of a specific architectural object in the form of drawings for its implementation in construction. The drawings should give a complete picture of the appointment, about the composite and volume-planning structure of the structure, about its designs, materials, the feasibility and the economy of the selected architectural solution. This service role is specified for architectural graphics. The graphic development of the drawing is not an end in itself, but only a means of preparation of documentation with which the architectural project is performed in nature. Expressive, convenient building in operation that meets its destination, well done and durable - this is the result of a high-quality project and collaboration of the architect and builder. It is important and it is necessary that the quality of architectural solution is not replaced by sharp graphic drawing constructions so that the graphics do not take the architecture. In this sense, "beautiful graphics" can bring irreparable harm to architecture, misleading the author and customer.

But the architectural drawings are inherent aesthetic qualities, although it is not a work of art.

Beautiful drawing is an important and necessary concept. It speaks about the compliance of the graphic form of the image to the character of the image of the object. But when they say "beautiful plan", "beautiful cut", this applies not so much to the drawing, how much to the advantages of the project itself - the feasibility of composition, proportions, form, tectonic logic and the clarity of the whole.

____________

¹ In some cases, architectural images become an independent type of art - machine graphics, such as the architectural compositions of piranetsis, architectural posters, scenic or graphic works (such as the etchings of Academician I. A. Fomina, etc.) that should not be considered architectural graphics in the narrow sense of the word.

The development of an architectural drawing is based on both scientific (drawing) and artistic (drawing) of image methods. The method of graphic images is not the only one, there are still methods for maketting and modeling. As a rule, all these methods participate in conjunction in the creative process of design, their degree of participation is determined by the design stages. If at the initial stage of design, the drawing is the main image method, then on the following - the drawing is used as an additional means when performing complex curvilinear forms, ornaments, entourage, etc.

The joint use of two images of the image - drawing and drawing - is also a specific feature of architectural graphics, where the advantages of the drawing - visibility and artistic expressiveness - are combined in the project with the scientific construction of orthogonal projections, prospects and axonometry. Another feature of the architectural drawing is the conventionality of the image that makes it simpler and at the same time understandable, such as, for example, combining on one sheet of plan, facade, cut (sometimes and promising image), removal of individual elements of the drawing (parts), combining different scales , combining different drawing of images (lines, tones, lighting, colors) and visual materials (mascara, watercolor, gouache).

Maketing as a project development method in modern practice gained great importance; They appeal at all stages of architectural design, and the layout increasingly replaces promising images. The role of maketting is still great because the layout makes it possible to check architectural composition From different sides and with different lighting. The layout approaches the designed object to the real perception of it in kind. Photographing layouts and alignment of the received photos on one sheet with graphic images has become in modern architectural graphics in one of the ways to perform drawings intended for filing for viewing for exhibitions and for conveying construction.

Architectural graphics in academic work at the university pursue educational tasks. Through the graphics, the student learns the compositional and artistic patterns of architecture, its style features, graphics, artistic and technical methods and images, visual materials. Graphics is one of the criteria for the development and evaluation of the creative abilities of the student.

Therefore, in the learning practice of the design, it is necessary to develop the culture of architectural graphics, the taste for various compositional and graphic receptions of the image and materials.

Teaching architectural graphics is almost consisted of student training, descriptive geometry, drawing and painting on special departments. Improving in architectural graphics is carried out in architectural design, where team leaders recommend various graphic techniques in accordance with the design stages, with the idea of \u200b\u200bthe architectural structure. If the first courses of the graphics are curriculum (drawing and washing of architectural details), then in senior courses and under the graduation design, graphic methods of image are the necessary means of clear graphics of architectural design, help to identify the figurative qualities of the future structures, not carrying The significance of the self-sufficient product of graphic art.

In addition to architectural design, there are other designs: constructive (projects and working drawings of structures), several types of special design (manufacturing and engineering equipment of buildings, organization of production works, etc.). In all these design types, their graphic techniques are applied, based on general methods of descriptive geometry (construction or engineering drawing). When developing architectural projects, these techniques are tightly in contact and partially merged.

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¹ GOST 5401-50. Construction drawings. Conditional graphics symbols are monochrome. Standardgiz, 1962.

The concept of "modern architectural graphics" reflects the dependence of architectural graphics from the historical development of architecture, construction equipment and a common visual culture. Without going to B. detailed analysis The history of architectural graphics, we note some of the stages of its development, in which the principles and methods of using visual means and receptions in the architectural project schedule are revealed.

In the ancient Russian drawings of the XVI-XVII centuries. Receptions of icon painting art were used. When building images, a decrease in the pattern of vertical dimensions removed from the plane (as in axonometric projections) was allowed, a plurality of points of view was allowed. Images often represented as if views of the facilities from a bird's flight. The iconographic reception of the image on the picture plane of various constructions, which are in reality at different distances from the viewer, is also used - one above the other, without a promising reduction in size. In the XVII century There are drawings, in which the plans and facades of the facilities were combined to one plane.

The separation of images to individual projections appeared at the end of the XVII century. The drawings were performed in a linear graph, not on the scale, but with numeric sizes, with an accuracy of one vertex, black ink, in some cases, paints were used to tinted drawing.

At the end of the XVIII century. G. Monzh substantiated methods of images that are accurately transmitted on the plane of all three dimensions of the subject (orthogonal projections).

The architectural projects preserved before our time indicate a high skill of architectural graphics of the XVIII century., As a rule, a strictly subordinate being of the project. But the experience of the past along with this shows the use of architectural graphics to create false artwork of the business document, the monumentalization of the drawing. And if such a master, like Tom de Tomon, brought his drawings to the degree of picturesque painting, with a cloudy sky, with a scenery full of artistic mood, then such works can not be attributed to architectural graphics. These are finished pictorial paintings with the image of the designed structures.

For architectural graphics of the XVIII century. Artistic and technical techniques are characteristic, clearly and expressively revealing the appointment, artistic and structural-building features of the designed structure, the compliance of graphic techniques in the nature of the architectural composition. In this regard, the projects of architects of Russian classicism Bazhenova, Kazakova, Voronikhina, kopengi and many others are of great interest. The works of these masters are valuable in that these architects were builders and their projects were the real working drawings for which construction was carried out. The high artistic level of graphs of these projects did not turn them into the subject of Estetian admissions. The entire graphic archive of this era is businesslike. Graphic techniques are few, the well-known savings of fine means that simplify reading and understanding the drawing, not chase beyond the originality of the drawing, and the desire to feel thought about architecture.

For architectural graphics V. I. Bazhenova, both orthogonal and promising images are characterized by a thin and accurate drawing, the skillful use of the laws of the air perspective. The depthness was achieved mainly by the tonality of various plans: dark - ahead and light - away, with the observance of the exact constructive framework architectural forms. The architecture in the drawings and drawings of Bazhenova is shown in conditions of scattered lighting - with minor contrasts in plastic form.

MF Kazakov in architectural landscapes applies a thin graphics manner of drawing - line and barcode, as well as closest tonal relationships on the same principles for building depths that used Bazhenov.

A. N. Voronikhin uses graphic techniques more widely, attracting the outline, tone, light and texture not only for the volume-spatial characteristics of the forms, but also to detect carcass and watercolor color differences of the material (for example, the project finishing of the art gallery in the Stroganovsk Palace).

D. Kurengy left a lot of drawings, drawings from the nature of the buildings constructed by them, for which it is possible to determine the features of its graphics. Orthogonal projections, built according to all the rules of the design geometry and the theory of shadows, washed with a strong brownish or bluish tint planes with watercolor in the covered and shadow places.

The application of watercolor leaks was scenic, but passed the impression of real building material and monumentality.

The impression of the illumination in the architectural image was achieved by dense shadows and black openings, the space - means of the air perspective - from the dark, material in the foreground, to the bright linear image in the distant plan. In the drawings of the facades, the cuts were depicted landscape, people for scale. For all graphic works, the quarters are characterized by care and perfection.

These already spent and improved image techniques were used in the XIX century chart. (Architects A. D. Zakharov, O. I. Bove, etc.), who were repeated in the architectural drawings of projects of income houses, mansions, factory and other architecture facilities end XIX. and early XX centuries.

Architectural graphics of the 20s of our century had peculiar features. It was imbued with the overall spirit of revolutionary pathos, artists and architects sought to revise existing norms, concepts and make a new, revolutionary start in the practice of architectural design. For this period, the graphics of projects of the architectural faculty of Vhowemas are characterized. There is a lot of new things in it. Graphic techniques are closely related to the nature of the architecture (as examples they will be given in subsequent chapters of the manual). It must be emphasized here that many rational graphics techniques of architects of that period were widely used and developed in modern architectural and educational practice as domestic experience of progressive architecture of the 20s (using a linear image, black and white contrast, the use of local color, texture ).

Graphics of architectural drawing 1930-1956 Reflected the character of composite decisions of the architecture of this period. The application of the order system determined both graphic ways of image, and materials. Light, active entourage in the drawings of facades and prospects, widespread use of watercolor equipment - specific traits Graphs of this time. Prospects and panoramas such buildings such as large hydraulics, channel gateways, stadiums, residential arrays, high-altitude houses, achieved huge sizes and were performed in watercolor technique as finished artistic paintings. These graphic "canvases" visually gave an idea of \u200b\u200bthe future building together with its environment.

In modern architectural practice, along with traditional graphic techniques, new techniques appear, due to other characteristics of architecture and its aesthetics, new methods of building production and properties of progressive building materials.

The traditional drawing graph includes technical techniques of drawing, building orthogonal and promising images, building shadows, methods for washing and other techniques, legalized by practice and design standards. These techniques are necessary for elementary implementation and understanding of architectural and construction drawings. But the search for new graphics techniques is necessary, since the cultivation in the graph of a limited set of visual receptions leads to a stamp. However, new techniques must in each case be justified, to meet the business requirements of architectural drawing and construction practices and should be associated with creative searches for architectural forms, with new methods of design and construction.

Normal, catalogs, typical drawings of structural elements for the production of them at the factory can serve as an example of a new type of graphics of architectural and construction drawing.

The graphics of the modern project is influenced by the standardization and size of the drawing. Standardized drawing is publicly available and understandable, most economical and rational, facilitates comparing projects among themselves and archival service. The size and scale of the image, largely dependent on the size of the designed structure, affect the choice of visual receptions. In the architectural chart of the XVIII-XIX centuries. Figures and drawings did not make a large value (60 cm For larger size). Architects Brothers Vesnins performed sketches of the Palace of Culture Zil (1930) on the trackers of 12 × 18, 8 × 11 cm etc., using a miniature technique, an accurate drawing on a scale of 1: 500. A small drawing allows the eye to make it easier to cover the general proportions of large parts of the architectural structure. In addition, small sizes of the image facilitate the tasks of the composition.

Modern architectural graphics in search of new expressive agents, naturally, comes from the specifics of the new architecture. From here and the specifics of graphics techniques, the use of new visual materials that allow the most accurate to convey to the viewer an idea, design and material of the structure. In cases where the techniques of classical washing would be ineffective, for example, in the image of colored concrete or ceramics, transparent and opaque plastics, etc., these materials are transmitted in the drawing not in due to light color, but in a specific, alignment, typical For this material, i.e. are depicted as the colors of the working drawing (kel). In the chart, this feature is reflected in the new techniques for processing the drawing of gouache, tempera, varnish, bronze, most actually depicting the objective color of the material. Also are also widely used, such methods of image as a photo montage, appliqué, bulk graphics, sampling.

These same techniques and methods are used in those architectural projects where monumental-decorative painting is included as a composite element. In the graphic detection of such as parties of the architectural composition, such as, for example, a volume-spatial structure, tectonics, rhythm, etc., line, tone, light, color, texture are used equally. For architectural graphics recent years It is characteristic of the return of the architectural drawing inherent in the conventionality, i.e., the use of its main visual language - black and white graphics.

The activation of the color in black and white graphics is not a picturesque character in a modern drawing, but conditionally graphic.

The effect of modern painting is certainly an influence on modern architectural graphics, especially those pictorial quests, which are inherent in the inner architectonicity, monumentality of forms, shifted on the planar tongue of the machine painting (lesion, marriage). In the graph, this influence is associated, in particular, with identifying the expressive possibilities of the invoice of complex processing of the plane with various materials. However, along with the positive influence of modern painting on the drawing graph, there are cases of non-critical use - imitation of composite picturesque techniques. Then an architectural drawing or drawing cease to fulfill their main role of the architectural and construction document, the meaning is darkened by unjustified graphic effects.