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Architecture Representation, Thesis Paper Example

Pages: 2

Words: 585

Thesis Paper

The concept of creating a pattern that would be followed for building is one of the primary steps taken into consideration in architecture. Accordingly, this process is also considered a crucial stage as it will serve as the overall blueprint of whatever is supposed to be created. This is the reason why it is an important aspect of architecture to master the art of representation; a process of drafting and creating the final written design to which specific creations are supposed to be based on. Relatively though, through the years, there had been several factors affecting the process by which architects intend to represent the actual features of the projects that they are supposed to handle.

One specific issue to consider is the difference of perspective. What specific perspective is best to represent the angle of a structure that is to be built? The creation of a patterned visual representation of any structure is undergone by an architect not simply to present an aesthetic form of distinction to those to who the project is dedicated to. Instead, it is supposed to give the builders and everyone else involved in the building process the capacity to picture, to formulate in their minds what they are supposed to create. This is why it is important that the architects provide the most convincing perspective of the structure that would clearly define what the structure is about, what its derails are and what their role is in defining the function of the overall structure. To research on the matter, it is important to use references that represent the proper condition of implicating on how transition is made between paper and the actual act of building. Several discussions point out that such process makes up the real worth of architecture. Being able to create a well-represented draft or blueprint of a structural project gives the architect a sense of accomplishment that defines him and his job in the building industry. Some of the comprehensive references that could be used for this research includes that of Robert Evans’ (1997) Translations from drawing to building and Guttorm Fløistad’s Aesthetics and philosophy of art; both of these works discuss about the collaborative use of aesthetics and function in the process of designing the blueprint of a project and how well it helps in defining the expected outcome of a specific construction. Notably, other references are to be used to support the fact that in the process of transition, architectural representation is an important element to consider.

Works Cited

Evans, Robin. Translations from drawing to building. Cambridge, MA: MIT P, 1997.

Fløistad, Guttorm. Aesthetics and philosophy of art. Ser. 9. Dordrecht: Springer, 2007.

Frascari, Marco, Jonathan Hale, and Bradley Starkey. From models to drawings: Imagination and representation in architecture. London: Routledge, 2007.

Pohl, Ethel Baraona. “From line to hyperreality.” From line to hyperreality. 12 Mar. 2012. Aurasma. 02 Oct. 2013 <http://www.domusweb.it/en/architecture/2012/03/12/from-line-to-hyperreality.html>.

Pérez, Gómez Alberto, and Louise Pelletier. Architectural representation and the perspective hinge. Cambridge, MA: MIT P, 2000.

Luis E. Carranza. Le Corbusier and the Problems of Representation. Journal of Architectural Education (1984-). Vol. 48, No. 2 (Nov., 1994), pp. 70-81. Published by: Taylor & Francis, Ltd.

Benke, Brad, and Mike Christenson. “Differentiation as a Form of Knowledge Production in Architecture.” 2013 ARCC Architectural Research Conference, Charlotte, NC. North Dakota State University, Fargo, ND. 02 Oct. 2013 <http://arcc2013.uncc.edu/>.

Vesely, Dalibor. Architecture in the age of divided representation: The question of creativity in the shadow of production. Cambridge, MA: MIT P, 2004.

Sparke, Penny, Adrian Forty, and DeyanSudjic. Representing architecture: New discussions, ideologies, techniques, curation. London: Design Museum, 2008.

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