Avances tecnológicos en representación gráfica : su influencia en el diseño arquitectónico
As occurred with the blue antelope between 1799 and 1800, or the thylacine in 1936, in the year 2050, those who were educated under analogical technical drawing will constitute an extinct species. Throughout the whole of history, grand technological advances in architecture have used new materials o...
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| Tipo de recurso: | tesis doctoral |
| Fecha de publicación: | 2016 |
| País: | España |
| Institución: | Universitat Politècnica de Catalunya (UPC) |
| Repositorio: | UPCommons. Portal del coneixement obert de la UPC |
| Idioma: | español |
| OAI Identifier: | oai:upcommons.upc.edu:2117/98088 |
| Acceso en línea: | https://hdl.handle.net/2117/98088 https://dx.doi.org/10.5821/dissertation-2117-98088 |
| Access Level: | acceso abierto |
| Palabra clave: | Disseny arquitectònic -- Informàtica Àrees temàtiques de la UPC::Arquitectura |
| Sumario: | As occurred with the blue antelope between 1799 and 1800, or the thylacine in 1936, in the year 2050, those who were educated under analogical technical drawing will constitute an extinct species. Throughout the whole of history, grand technological advances in architecture have used new materials or systems of construction. These relieved previous ones but maintained a placid coexistence. The incorporation of computers into the design process is not confined, however, to the mere replacement of a tool. It has completely crushed all prior systems of conception, drawing, development, and communication of architectural proposals. The duality of thought in architecture regarding technical advances is reflected in the dichotomy between the conception and representation of architecture used over centuries and that of today. Between the use historically of mechanical-manual procedures of drawing of the architecture and the new digital tools of representation incorporated. The graphical representation process in a project of architecture or design has always been based on a journey in which the ideas have to travel, from their conception to their communication. A journey that today, is an individual act tied from the very beginning to the essence of the architect; to the scientific and humanistic base in equal parts, and tied to its modus operandi too. It is an act immersed in an analogical and digital world in which our professional activity arises. As a consequence, it is directly influenced not just by these technical advances in graphic instrumentation but also by the circumstances and agents beyond the actual ambit of design. This thesis aims to generate a reflection on the divergence in the habits of graphic representation and visualization in the majority of current architecture studios. Compared to those used, prior to the Digital Revolution. As such, it endeavors to demonstrate at what point the architecture studios pioneering in their use of these new systems of contemporary representation took the leap from the analogical to the digital. This thesis also wants to mark out the different attitudes that the architect takes today, in contrast to those modes where the representation (analogue as much digital), can weave together the processes of composition and communication of our projects. But also how this can be effectively instilled through the teaching imparted in Spanish architecture schools, and avoiding in this way a Decalogue of the grave LOSSES that is generating effects in Architecture. Effects that I will call: The Digital Imprint. The current theory and operative practices in architecture and design along with the unavoidable need for their representation in drawings, text, or images, have led that the appearance of the computer influences the development and liberty that give us the geometry. Also, the 30 computer programs used in representation referenced in this document influence in the assimilation of the use of the image and the graphic results generated during the project; and ultimately the morphological possibilities the architect can propose in their buildings. The relation between technique and processes of graphic communication and thinking in architecture, up until now, has not been considered critically from a historical perspective regarding the value of representation. Consequently, the Theory of Architecture needs to structure a coherent body of knowledge for the profession but also for teaching purposes |
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