PP Periodica Polytechnica Drawing and Drafting in Architecture

Architecture
Architectural History as a Part of
Future Studies
OnlineFirst (2017) paper 11310
https://doi.org/10.3311/PPar.11310
Creative Commons Attribution b Martin Pilsitz1*

research article Received

Abstract 1 Drafting means thinking

Architectural historians take an academic interest in past Architecture is undoubtedly considered as a drafting disci-
architectural styles and techniques. The actual value of the pline. The situation appears more complicated when it comes
exploration of the past is to design, from the knowledge gained, to the question of the drafting process. The working methods
a possible image of the future. Consequently, architectural his- and approaches differ individually, and their mechanisms can
tory becomes a part of the futurology. In this context, the irst often not, even by the designer, be clearly explained (Krau-
questions are in regard to the fundamental skills of architects. thausen-Nasim, 2010). Until students gain their degree, they
How does work drafting in the architecture? What future pre- try to develop an own drafting strategy. At irst, this might hap-
sentation methods could be applied? The following article takes pen through the imitation of legendary models, which often
a critical look at factors that may inluence solutions in the ield means that magazines with architectural illustrations on glossy
of drafting in the future, such as the inclusion of the public in paper are searched to ind solutions for the drafting task. In a
the dialogue of the drafting process. This could lead to a dis- more advanced stage, experiments are carried out with more
cussion about the current didactic for the teaching of drafting methodological approaches: graphic-illustrative or morpho-
and architectural history at universities. Architectural history logic, associative or diagrammatic, inductive or deductive. In
currently creates a rigid corset for the concepts of styles and the best-case, experiments are carried out with incremental
for different time frameworks. Is this approach still up-to-date development processes, to break down the process into indi-
at all? Because of the current teaching method, the vocabulary vidual phases and systemise them. Young architects, at the
predominantly originates from the history of art. Accordingly, start of their career, assigned to an architecture irm with their
large numbers of lexical facts are taught and requested, but are irst draft plans inally conclude that a large proportion of the
there other options available? Against the background of cur- drafting process somehow evades objective and factual expla-
rent developments, the question arises: whether architects and nation; for example, the question of the origin of the form in
architectural historians should not become emancipated and the architecture. Finally, there remains the crucial question:
develop, for subject-related issues, their own linguistic forms How does drafting work? In the following, this paper will con-
of expression? If this approach were to be taken into consid- sider various aspects and viewpoints related to these topics,
eration, the knowledge gained and the practical beneits from and provide an overview of the complex process of drafting,
these studies would be a multiple for the everyday work of pro- which has changed depending on cultural context and available
spective architects. As a result, the future of architecture would tools during history (Gethmann-Hauser, 2009). This raises the
obtain its own past. crucial issue of how the drafting process will develop in the
future. In the overall process, however, other factors, which
Keywords are not directly associated with the drafting itself, also play a
Alberti, architecture drawing, drafting, Frigyes Feszl, OTKA, signiicant role such as the communication of the architect with
Piranesi, plan archive the public. In addition, the relationships between the drafting
process and ethical issues are being dealt with.
Drafting is a dificult to grasp and complex process, whose
1
mechanisms are closely linked to the individual working
Department of History of Architecture and of Monuments,
Faculty of Architecture, methods of the architect and can be inluenced by their intel-
Budapest University of Technology and Economics, lectual and physical abilities (ARCH+ 189, 2008). The visu-
1111 Budapest, Műegyetem rkp. 3, Hungary alisation methods used to date were quickly established from
*
Corresponding author, e-mail: [email protected] the early history of drafting: Sketches, drawings, perspectives

Drawing and Drafting in Architecture Architectural History ... 1

and models, linguistic descriptions and calculations. With the two-dimensional plans, sections and perspectives, which can
introduction of computer supported drawing in the recent past, only simulate the effect of space, mass, light and material and
a selection of prior deined elements offered by the drawing the body feeling metaphorically in the architectural perception
programme has been added. Also, two further factors contrib- (John, 2009). At the same time, this form of communication
ute to the drafting process: Firstly, methods and strategies to of architecture demands the ability of the public to be able to
help apply visualisation, and models and examples condition- imagine a two-dimensional presentation as a three-dimensional
ing the drafter. The summarising function of these individual walk-in structure. As many people are not able to fully under-
elements is to make personal concepts and imagination per- stand a complex presentation in its spatial consequence, this
ceptible for the designer themselves and for others. The term also brings the possibility of manipulation to the plan. If this
drafting becomes in that way a summary deinition of a process connection is thought through to the end, however, the question
of various interlocking considerations and handicraft activities, arises: Could, from these manipulations perhaps develop a new
which elude a direct and simple explanation. At the beginning architecture (Cabinet Smith, 2006)? In transitional periods, this
is the focus on the perception of the given situation, which statement could be especially applicable. The term “transition”
will be followed by the irst spectral ideas of the building to may thereby also relate to a single event, such as the replace-
be designed, and inally accumulates in the implementation of ment of manual drawing by CAAD-tools towards the end of the
the building (Ganshirt, 2009). Describing the intellectual pro- 20th century. Alternatively, it may relate to a longer time inter-
cessing of the task - the capacity of the mind to imagine - is val, as the 19th century, with the transformation of the agricul-
probably the biggest challenge. Inluenced by models (what tural society to an industrial society and the drastic economic,
was seen, read and heard), which are stored in the memory and social and technological changes.
by external demands to be observed, the process starts both
at a conscious and unconscious level. Emotions are an essen- 2 Architecture drawing - drawing of architecture
tial element, involved in the same way as imagination, mental One of the traditional means of expression of the draft is the
attitude and rationality. The processing of information follows drawing, whose primary task is the visualisation of an idea. The
rather logical and verbal patterns, while the creation of ideas drawing is used at the same time as a means of conviction, to
occurs in pictures in a more intuitive and associative way (Rob- inspire owners and potential investors. The design of the draft
ertson, 2001). The architectural drafting becomes an individual is broadly dependent on the cultural trends and technical possi-
and subjective process of artistic creation. This process does bilities of the respective eras. At the same time, the presentation
not follow a linear course but represents an interaction between also allows conclusions about the actual drafting process as a
drawing and inspiration. Consequently, it represents drawing creative intellectual performance of the architect, whose goal is
and at the same time the tool and the expression of thinking. to reduce complex issues - as they exist in the built reality - to
Due to the permanent looding of visual stimuli and the con- a few comprehensive aspects. The ability for reduction, which
stant use of computers, architects currently face challenges to means in this context concentrating on the essential aspects,
set boundaries, as well as to integrate new tools into the overall belongs to the basic knowledge of the architect, and without the
process. The related risks and opportunities should be critically drafting process, would not be possible. These interrelations
reviewed and constantly re-evaluated. Only in this way can should be clariied and illustrated utilising historical contexts.
responsible development and a conscious use of the new draw- The drawing was always a determining means of architec-
ing tools, without the immediate need for a new shift of para- tural design. Among the earliest examples of architectural rep-
digm be ensured. The interaction of the individual factors is so resentation, the Gudea statue (Louvre) holding an architectural
complex that, for example, at the RWTH University Aachen are plan is evidence that drawing already had different contexts in
tools and procedures used in drafting the object of systematic Mesopotamia, some 4000 years ago. The architectural drawing
research. In the focus of the attention stands the question as carved into a plate, that is laid on Gudea’s knees, represent the
to what extent the drafting process can be made better by the orthogonal projection of a temple or sacral building around a
development of own methods, which would serve the integra- shrine, but nevertheless, it had its symbolic meaning besides its
tive processing of heterogeneous and simultaneous information technical completeness.
and support the complex management (Staphorst, 2017). Vitruvius – whose De Architectura Libri Decem is the only
The professional learned and experienced application of the surviving comprehensive work of the architectural theories of
drafting-related mechanisms (abstraction, reduction, change Classical Antiquity – deines drawing as the means of repre-
of materials and priorities), allow a variety of experiments, senting the design. To achieve this, the architect must own clear
but can also be misused for manipulation. This is favoured knowledge of geometry. By deining the notion of ordinatio (it-
by the fact that architecture drafts are always created in some ness), he also deines the ground plan, elevation and perspec-
different medium and dimension as the designed object itself. tive to achieve a proper arrangement of the whole building and
Speciically, in the subscribed and miniaturised abstraction of its parts, all resulting from a rational thinking and invention.

2 Period. Polytech. Arch. M. Pilsitz

 Leon Battista Alberti (1404-1472), reinvented Vitruvius the ever-increasing complexity of the construction techniques
for the renaissance and introduced to design, with its drawing and the increasing demands on expertise, architects became a
parts, the equivalence between the original architectural idea new type of trustee of the construction process and thus to the
and its realisation. The design – deined by Alberti as the pri- sole professional authority in the area of construction. A new
mary means of capturing architectural thought, is essentially a category was formed within the architectural profession in this
critical source from the age of the Renaissance. Alberti’s De Re context: the private architect, self-employed in their own ofices,
Aediicatoria Libri X is the irst summarising theory involving offering services free of attachment to secular sovereigns at own
the aspects of societal, scientiic and artistic issues of architec- risk. This development represents a far-reaching innovation in
ture in a complex method. the history of the architectural profession. This group of archi-
The rediscovery and systematic processing of the legacy tects was dependent to a previously unknown degree on prov-
of Classical Antiquity became, from the age of Renaissance, ing their competence because their order situation was highly
one of the main sources of architectural design. This process is dependent on this know-how. An increased performance was
often the main source of architectural creation from the Quat- also essential, which, in turn, led to the formation of the irst
trocento, and, in a slightly biased approach, one can charac- associated architect’s ofice communities. These worked based
terise the period spanning from the Renaissance to our time as on a division of labour and resulted in the emergence of archi-
Memorismus (Hajnóczi, 1993). tects as managing directors of a commercial operating company
One of the highlights of this memory-determined period is the (Amt, 2010). The associated architect’s ofice of Frigyes Feszl
age of Baroque, when archaeological approaches to Antiquity, (artistic director), Lipót Kauser (construction supervision) and
through scientiically exact depictions, interfere with the needs Károly Gerster (engineering) is a typical example of this new
of new visual attraction and metaphoric content. A master of this form of work based on a division of labour of a new generation
complexity of new visual trends is Giovanni Battista Piranesi of architects in Budapest in the middle of the 19th century. In
(1720-1778), an artist whose irst ield of interest was architec- the framework of this division of labour, Frigyes Feszl could
ture, although he was expert in various ields of arts and tech- focus entirely on the artistic, architectural aspects of the profes-
niques of drawing and etching. His intention to rebuild Rome sion and could fully unfold his skills in the presentation tech-
in its ancient splendour lead him to use the surveyed ruins with niques: painting and drawing (Komárik, 1993).
visual imagination in a rhetorical way to express his visions. The irst organised archives for architectural drawings and
Apart from the unrealistic content of his drawings and etchings, illustrations, in architectural ofices and universities, came into
they explore a revolutionary approach in the new use of the clas- existence in this period. The need for systematically collecting
sical rules (symmetry, extraordinary scale), which also needed a the drawings resulted from the preference of securing the draw-
special drawing technique: a variety of dotted and dashed lines ing but not least also the building idea itself. The constructed
were used that connected different content or igures without buildings are changed over time, suffer damage or are rebuilt,
giving a deinite content with a coherent scale. In this way, his while drawings remain the same in the original form. The plan
drawings go beyond the mediation of information, following the serves as a medium that contains the original design idea and
rules of artistic expression of its own aesthetics. the construction design, preserving how the building was origi-
The 19th century was, for architects, a deep rupture. They nally designed and constructed. Whenever something had to be
were challenged by the introduction of new building materials converted, upgraded or repaired, for the future of the building,
and related methods of construction. Of particular importance it is of huge advantage, if the actual planner can visualise the
for the construction industry was the breakthrough with Port- original building idea. This has become even more important,
land cement (1824), proiled steel (1849) and lat glass (1866). especially as buildings have become increasingly more com-
These materials revealed new design opportunities, which were plicated, and the construction more sophisticated. Similarly,
unknown previously; they also led to increased demands on ecclesiastical building authorities or large companies have cre-
construction know-how and higher requirements regarding the ated plan archives not for reasons of nostalgia, but as an instru-
understanding of the designer. Until the middle of the 19th Cen- ment of building maintenance. Architectural drawings not only
tury, traditional building construction (i.e. technical solutions in have a practical or cultural-historical value but also often a high
combination with local experience and a small number of differ- intrinsic artistic value, which represents by no means a subor-
ent building materials) had been the norm. However, this under- dinate role in the history of the graphic arts, even in the history
went a fundamental change from 1850 towards a kind of univer- of the painting. The invention of the perspective, for example,
sal building construction (use of mass products as construction represents an essential means of modern picture presentation
materials, standardisation and prefabrication of components and (Nerdinger, 1986). Adding to this is still a didactic interest for
construction methods that were no longer speciic to a particular the universities, which are not focusing alone on drawings, but
location) (Pilsitz, 2013). These changes had far-reaching conse- on all possible testimonies of the design and construction pro-
quences for the position of architects in the 19th century. With cess as well as of inished buildings. In this way, they are, in

Drawing and Drafting in Architecture Architectural History ... 3

addition to archives, museums and libraries universities, the 3 The future of Architecture Drawing
most important public collectors of architectural drawings. An Regarding the future of architecture presentation, the com-
immediate consequence of the systematisation and profession- puter has completely replaced hand drawing. Consequently,
alisation of architectural education beginning in the middle of drawing applications and design programs will, it is assumed,
the 18th century, was that teaching collections came into exis- continue to largely determine further developments of the aes-
tence. These included plaster casts of components and orna- thetics of the architectural drawing. However, after research of
ments, models, stitch works, books and prints (later also pho- the latest trends and current streams in international architec-
tographs), and of course, hand drawings from the legacies of ture, it can be seen that, paradoxically, the opposite is the case.
architects and other origins (Nägelke, 2012). A renaissance of handmade drawing can currently be observed,
The research project entitled “Architectural Drawing and although in a new form. Architects, on the search for new forms
Education” of the Department of History of Architecture and of expression for the 21st century, take the view that the four
Monument Preservation of the Budapest University of Tech- dimensions of architecture (three for space and one for time)
nology and Economics, focuses on the exploration, archiving will no longer be suficient in future. With the objective of a
and scientiic processing of historical architectural drawings further dimension in architecture presentation, the pure com-
collected in the department (and by its predecessors) since the puter graphic must be overcome, and the acceptance and the
establishment of architectural education at BUTE. ield of application for individual artistic expression allowed
The main aspects and questions of research focus on the to increase. Terms such as semiotic bliss, cyborgian geography
general methodological issues of architectural education on a or urban polemic, part of a constantly growing list, describes
historical basis. One ield of this important theme is monument many individual tendencies.1 Just as individual as the architects
survey, which has always played an important role in the educa- themselves, the topics and the means of expression to apply
tion of architects. The department has played a signiicant role them should also be different. This movement of a new archi-
as a “research base” for Hungarian architecture history writing: tectural presentation is currently in a state of experiment and
on the one hand through its professors’ activities as research- will remain so. This experimentation includes a broad range
ers and monument restorers and by the systematic monument of graphic and craft techniques (collages and models) as well
surveys completed with student participation on the other. The as a wide variety of materials (metal, paper, plastic,). It is not
departments teaching history of architecture – established after intended as a kind of counter movement to computer graph-
1870 - at that time, were real “laboratories” of historical archi- ics, but rather to equally apply drawings and other artistic
tecture as the professors with their excellent knowledge base means of expression or to mix or complement different tech-
were also active practitioners of design. niques where appropriate (Spiller, 2013). At the same time, it
Another signiicant source for design education were the is a tendency to detect the inclusion of social issues and future
pattern books, notably, the most comprehensive architectural research those topics that cannot be viewed independently, but
history corpus ever published, the Handbook of Architecture as separate dimensions, which should also have an inluence
(Handbuch für Architektur).Issued at the beginning of the on the design process itself. In the search for new forms of
20th century, it contained in one series, the knowledge from expression, the creation process itself inally becomes a part of
historical sources to building science and technology issues, the overall result. With the factors mentioned above, there are
being the “Bible” of historicist architecture. The theoretical various forms of knowledge available that result in a certain
principle of this method of education was to use historic archi- problem-solving know-how relating to some working methods
tectural heritage for both tasks like a contemporary design and and ways of communication. In the following, shall exemplary
study of the past. be discussed, how architects and artists work, who apply in
Even though the professors of the Faculty were rather conser- practice already working methods, which may inluence the
vative in their architectural taste, the need for new architectural future development of presentation in the ield of architecture.
language resulting from the development of new structures and The projects of Smout and Laura Allen, founders of the ofice
new functional approaches had also changed the educational Smout Allen, show the relationship between drawings as carriers
concepts of the irst decades of the 20th century. The educa- of information of scale, materiality and considerations for topo-
tional reform proposed in 1919 – even if not put into force – graphic details and structure, and conversely, the built model,
characterised the new directions. Soon after this proposal, the which in the form of an installation, changes its scale continu-
Department of Residential Building Design, led by Iván Kotsis, ously during the implementation of the project (Smout-Allen,
was established as the irst truly modern design department, 2016). In this mode of working, a classic method of drafting
following the modern architectural education trends in Europe.
This specialisation is also relected in the changing principles 1 These innovations have their origin primarily in the USA and the UK. In
of structural education, putting more emphasis on real material these countries architecture is taught as a subject at general universities. It could
characteristics and calculation methods. be debated whether this is the reason that these countries are more likely to
produce multidisciplinary interactions and synergies.

4 Period. Polytech. Arch. M. Pilsitz

has been implemented with up-to-date tools. Representing the same way in the presentations as new perspectives and ways
interim results of the drafting process as a comprehensible part of working, as well as ethical considerations. If we assume that
of the overall process is considered by Smout and Allen as a synergies between science and art will further strengthen and
key factor. Using the transparency incurred, the result avoids the processes of design will increasingly involve the public in
confronting the public only with the inal result of the project. future, this approach will lead us in the architectural drawing
The observer, in this way, gets a much greater opportunity to to multimedia, multi-disciplinary and multi-technology. The
experience the intermediate steps in an understandable way. irst essential aspect to develop new possibilities for modes of
This mode of operation of a relexive drafting work, i.e. the inte- expression in architecture is to overcome prejudices and lift the
gration and analysis of the drafting process, could be a future taboos. In the following section, three key and exemplary inno-
approach to improved communication in architecture. With this vations as signs of future developments should be mentioned.
method, the optimisation of the product (building, landscape)
would represent not the exclusive aim of the project, but the 4 New Materials
process would complementary add to shape their design. The The traditional and historical method of drawing will be in
Project “Wet Lands”: Architectural Waterscapes and Soft Infra- future complemented by new materials and their combinations.
structures for the Thames Gateway, from 2011, shows this The decisive factor here is the combination of traditional man-
approach in an exemplary way (Smout-Allen, 2013). ual work and the integration of new materials. The Brazilian
The experiments of the British architect Simon Herron with artist, Vik Muniz, designs his creations with the use of a wide
graphic expressive collages, drawings and photos show the range of materials such as sugar, peanut butter, threads and
wide range of possibilities of drawing and creative expressions. many other materials in daily use (Ollman, 2016). At his exhi-
One of his famous sayings highlights his attitude to drawing as bition in the Mauritshuis in The Hague (Netherlands) from 9
a process, i.e. as a development of both as well as the draw- June 2016 to 4 September 2016 drawings fabricated from choc-
ing and the person drawing it: “This is paper, you can’t hurt olate were also exhibited (Muniz, 2016). The selection of such
it.” Drawing represents for Simon Herron a …personal haptic design materials may at irst affect a slight irritation for some.
language of the Inventor… (Herron, 2013). Architecture itself For Vik Muniz, they are not merely to understand as a gesture
is not a neutral thing that comes into existence isolated from but also as a demand for ethical actions. In his ilm “Waste
social developments or social contexts. Its work consciously Land,” he reports about people whose whole life is to browse
includes the creative process of architectural solutions with the the waste produced by our consumer society on the world’s
involvement of the public. Social and societal challenges such largest dump, the Jardim Gramacho (Rio de Janeiro/Brazil) for
as future, poverty and exclusion are included in the solution something usable for subsequent recycling. This waste will
process and re-emerge as an equally artistic and architectural also include considerable discarded food. From Vik Muniz’s
dimension. Architecture turns into that what it should be, par- point of view, these people do the same as he himself, but under
ticularly a response to current problems of society to discuss in inhumane conditions (Walker, 2016).
public forums (Herron, 2016). The Chinese artist Cai Guo-Qiang also produces his drawings
This approach is not about the re-emergence of hand draw- with many different materials. Since the end of the 1980s, Cai
ing or any form of rejection of computer drawing. New tech- Guo-Qiang experimented with burning gunpowder. The suddenly
nologies and techniques, innovative media and materials are ignited lame serves as a symbol of spontaneity, which refers with
(re-) discovered, interpreted and used. Parallel to this, a new its bipolarity to the philosophy of his home country (Guao-Qiang,
enthusiasm and longing to use (our) hands in the presentation 2016). On the one hand, ireworks, for many generations, have
can be seen. The interaction of different media, such as the dig- been a source of joy, and on the other, they represent explosions
ital image, animation, movie, hand drawing and modelling low with a destructive force, which caused huge destruction and much
into each other, complement each other as information carriers pain and suffering in China during the Cultural Revolution (1966-
with completely different characters. This raises the question 1976) and the wars of the twentieth century.
of the form of the interface and the transitions, which in turn An example of materials and media from the non-artistic
opens a wide ield of experimentation. There are no limits or area is provided by Tim Swager and his team from the Mas-
restrictive laws. Hand drawing could be perhaps referred to as sachusetts Institute of Technology (MIT). The scientists have
a cohesive way of thinking, the digital image as a kind of selec- developed a nano tube-pin, which creates speciic drawings
tion, and all that with the objective to expand the range of the depending on the type of gas used (Mirica et al., 2012). Regard-
possibilities for individual expression. In this way, the architect ing this innovation, a new ink roller pen is also worth mention-
could be again what they always were: a visionary. The use of ing, using instead of conventional ink a special silver conduc-
different techniques and materials represents the manifestation tive luid that dries immediately after application on the paper.
of a way of thinking: the interdisciplinary work and research. With this pen, functional electronic circuits can be created in a
High-tech, low-tech and biotechnology are included in the previously unimagined uncomplicated way. The combination

Drawing and Drafting in Architecture Architectural History ... 5

of visual presentation with simultaneous data transfer adds where they are in the position of being able to use neurological
another level to the possibilities for expression, ensuring that scanning to communicate directly with the human nervous sys-
creativity has almost no limits. (Circuit Scribe, 2016). tem. Ray Kurzweil describes the possibility that images formed
These examples of non-standard methods are proof that any in our imagination could be using nano-mechanical or chemi-
theory of a privileged form of architecture drawing, can no lon- cal-biological technologies directly visualised in the real world
ger be up-to-date. Even though, traditional drawing retains its in the form of drawings or other presentational techniques. The
justiication but is no longer necessarily the best medium for idea of animated, intelligent and interactive images is nothing
drawings and illustrations for architectural drafts. new and goes back to ancient roots explains Marc Garcia in
his article Emerging technologies and drawings - The future
5 Drawing Technology and Media of images in architectural design (Garcia, 2013). The acheiro-
In addition to new materials, particularly innovative tech- poieton, a term from Byzantine etymology means: Made with-
nologies and media will inluence future development. These out using the hands. These images are created supernaturally
new technologies are continually expanding intelligence and by the gods. The image of the cloth of Veronica, the Shroud
the practice of drawings and presentations. The following are of Turin and the Veil of Manoppello are just a few examples
just a few examples of these technologies. of acheiropoieton. Although one can assume on legitimate
The 8K pixel hyper-real screen is a screen with a resolution grounds that these images ultimately have come into exis-
of 7680x4320 pixels. The resolution of this screen is 16 times tence as a result of earthly forces, they represent the principle
higher than those of usual 1060p screens, that results in virtu- acheiropoieton; after the considerations implemented above, a
ally pixel-free pictures (Silva, 2017). term that has current relevance for architecture drawings. The
Procedures using the wave character of light (possibilities development of information technology has reached the point
of interference and coherence) to create graphical represen- where a coupling of certain aspects of scientiic process with
tations systematically, such as holograms, go far beyond the digital drafting methodologies seems essential. Although the
possibilities of classical photography. These motives create an initial CAAD tools were only of an imitative character to repli-
effect as though these objects would ‘hovering’ free in space. cate the drawing process on paper, these tools have inally been
With lateral movements, the observer can also walk around an entirely replaced by programs that also enable working with
object that creates an entirely three-dimensional impression. volumes and components. Given the ever-increasing amounts
The possibilities of holography for future applications in the of information, the current software developments also strive
presentation of architecture have yet to be fully investigated to integrate drafting-based decision-making and solution strat-
(Ackermann-Eichler, (2007). egies. Such comprehensive systematic and parameter-oriented
Drawing robots create increasingly complex drawings and requirements ultimately raise questions for software program-
barely differ from hand drawings. The development ranges ming about the relationship between science (i.e. objectiica-
from the drawing robot AARON from 1973 developed by Har- tion) and drafting (Ammon and Froschauer, 2013).
old Cohen, up to the ideo genetic machine of Nova Jiang (2012).
The corresponding software is subject to continuous develop- 6 Summary
ment and goes far beyond the simulation of materials. Possi- The objective of the architecture drawing is to visualise
bilities are currently being investigated, on how to incorporate future reality. As a two-dimensional image of architectural
factors such as design and room systems with social, psycholog- objects, it consists of iconic characters with the capability of a
ical and environmental aspects. This may result in massive data high degree of abstraction. These combine and unite themselves
linked to drawings and illustrations that can be interconnected in a code with a widely understandable formal language based
directly with global networks as the “Internet of Things” (IoT). on a geometrical basis (Philipp, 2008). This has barely changed
A further phase of innovation represents the body detection since antiquity. Architecture drawing, therefore, represents the
technologies, which can detect the observer automatically and visualised result of drafting, i.e. the output of creative thinking,
interact with it. (Edwards, 2004). inluenced by the methods and strategies used for visualisation
What kind of future is suggested by these technological as well as by models and examples conditioning the drafter.
developments? Every attempt to ind an answer to the question The functioning of drafting has changed continuously from the
must remain an object of speculation with the danger of drifting very beginning; as for the future, it shows a development that
off into the art form of science-iction. A theoretical possibility appears to go far beyond the application of computer programs
is pictured in the book The Singularity is Near: When Humans with special graphics. The experimenting and combining of dif-
Transcend Biology by the futurist Ray Kurzweil from 2006. ferent presentation techniques and materials will undoubtedly
The basis of his considerations is that systems such as com- prevail. However, regarding the process of solution inding, for
puters, genetics, nanotechnology, robotics and artiicial intel- example, by means of a stronger involvement of the public, the
ligence will develop and network with each other to a point future will certainly bring many important innovations.

6 Period. Polytech. Arch. M. Pilsitz

Acknowledgement Komárik D. (1993). Frigyes Feszl (1821-1884). Akadémiai Kiadó, Budapest.
(in Hungarian)
This work was supported by the National Research, Devel-
Krauthausen, K., Nasim, O. (ed.) (2010). Notieren, Skizzieren, Schreiben und
opment and Innovation Fund (NKFIA) under Grant Number
Zeichnen als Verfahren des Entwurfs. (=Wissen im Entwurf 3. (Ed.) Bar-
112906. bara Wittmann - Christoph Hoffmann). Berlin.
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