Esta dissertação trata do desenho de obra, tomado como um meio de aproximação aos processos de produção do projeto e da obra e às relações que se estabelecem entre eles. O desenho de obra é proposto como objeto de pesquisa, sobretudo, por representar mediação entre momentos e instâncias de concepção e de execução na produção do espaço, constituindo fruto do processo de projeto que orienta a construção em canteiro. A partir de aproximações teóricas ao desenho de obra, que o situam como instrumento técnico no modo de produção, foi estudado seu uso ao longo da história. Procurou-se entender os processos que engendraram a separação entre instâncias distintas de concepção e de execução na produção de arquitetura, determinados por uma crescente divisão do trabalho. Essas aproximações teóricas e históricas fundamentam as questões que guiaram a observação do trabalho e as conversas com os agentes de projeto e de obra em quatro situações concretas de canteiros de obras residenciais em São Paulo. As análises sobre essas situações buscam compreender as determinações recíprocas entre os processos de produção do projeto e da obra e suas implicações para o desenho de obra e para a produção de arquitetura. / The present dissertation discusses the building-work drawing, addressed as a means of approaching the production process of design and the building-works, as well as the relations established between them. The building-work drawing is proposed as the research object, especially because it represents the mediation between moments and instances of conception and of construction in the production of space, and constitutes the result of the process of design that guides the construction in the building site. The use of building-work drawing was studied along history, starting from theoretical approaches that situate it as technical instrument in the mode of production. It aimed at understanding the processes that engendered the separation between distinct instances of conception and of construction in the production of architecture, determined by an increasing division of labor. These theoretical and historical approaches support the questions that guided the observation of the labor activities and the conversations with the agents of projects and works in four specific situations of residential building sites in São Paulo. The analysis of these cases seeks to understand the reciprocal determinations between the production process of the design and the building-work, and its implications for the building-work drawing and the production of architecture.

O ensino de projeto arquitetônico é, via de regra, o tronco da estrutura curricular dos cursos de Arquitetura no Brasil. Não obstante, com o passar do tempo, o ensino de projeto se mostra à prova de definições estáticas a respeito de metodologias de ensino para sua prática e aprendizado. São inúmeras as metodologias propostas e em desenvolvimento para o ensino de projeto, pois a elaboração de um projeto envolve a inter-relação entre diversas categorias de conhecimentos e habilidades, que interagem de modo não-linear entre si. Com a revolução digital do exercício profissional de arquitetura, um novo paradigma se apresenta como um particular desafio para as universidades brasileiras: introduzir no currículo do curso metodologias de ensino de projeto arquitetônico estruturadas, de modo articulado com meios e plataformas digitais que exploram as ferramentas computacionais para além do limiar da simples representação gráfica. Analisando o panorama geral, é possível notar que esta prática ainda está em estágio inicial no País (ROMCY, 2017). Segundo Orciuoli, (2009) a arquitetura digital ainda é vista com certa resistência pelas próprias faculdades de arquitetura. Neste sentido, esta dissertação se propõe a pesquisar a implantação de estratégias para o desenvolvimento de projeto utilizando o ambiente digital algorítmico e paramétrico em uma disciplina de projeto arquitetônico, assim como a instrumentalização necessária para a utilização destas ferramentas computacionais Foi desenvolvida uma pesquisa-ação em disciplinas do 4ª semestre da faculdade de arquitetura onde se propuseram exercícios relacionando conteúdos instrumentais às disciplinas de projeto para conectar o conhecimento computacional às estratégias projetuais. Na sequência, foi realizada uma análise sobre a integração entre softwares de desenho em plataforma BIM (Building Information Modelling) e softwares de modelagem algorítmica/paramétrica. Com isso, pretendeu-se fornecer subsídios instrumentais para que os alunos possam explorar estratégias projetuais digitais que utilizassem formas complexas, diminuindo assim os percalços habituais relativos à falta de destreza técnica na ferramenta digital tanto para o raciocínio projetual quanto para a posterior representação gráfica de suas propostas. Ademais foram analisados comparativamente os dados fornecidos pelos alunos antes e depois da implementação da abordagem de projeto digital, a fim de detectar problemas, potencialidades e efetividade da estratégia de ensino proposta. / The teaching of architectural design is commonly the main curricula structure in architectural graduation in Brazil. Even though, over time, project teaching has been difficult to define by static methodologies to teach its practice and learning. In fact, there are lots of methodologies proposed and in development to teach the activity of design. That´s because the design activity involves inter relationships between several knowledge domains and skills that´s interact in a nonlinear way. With the digital revolution of architectural practice, a new paradigm reveals itself as a particular challenge to Brazilians architecture schools: how to introduce, in the course curricula, structured methodologies to architectural design teaching in an articulated manner with digital media that explores computational tools beyond graphic representations boundary. Analyzing the general panorama, it is possible to note that this practice is still in its initial stages in Brazil (ROMCY, 2017). According to Orciuoli, (2009) digital architecture is still seen with some resistance by the architecture faculties themselves. In this sense, this work proposes to study strategies to develop projects using digital algorithmic and parametric media in a discipline of architectural design as well as the knowledge necessary to carry on these computational tools An action research was developed in disciplines of the 4th semester of the architecture faculty where they were proposed exercises relating instrumental disciplines with design disciplines to connect computational knowledge to design strategies. Next was analyzed the integration between a BIM software with a algorithmic/parametric modeling software. To this end, instrumental grants were able to assist people in the development of digital capacities, using the complex forms reducing in this way the usual gaps related to a lack of technical skills on reasoning or drawing with digital tool. Data developed by the students before and after the implementation of the digital design approach was analyzed comparatively in order to detect problems, potentialities and effectiveness of the proposed teaching strategy.

Yau Mei-yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 79-[84]). / Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Hong Kong Building Regulations --- p.2 / Chapter 1.2 --- Introduction to Architectural Design --- p.3 / Chapter 1.2.1 --- Related Works of Design Expert System --- p.3 / Chapter 1.2.2 --- Application of Model-based Reasoning to Design Expert System --- p.4 / Chapter 1.3 --- Model-based Reasoning System --- p.5 / Chapter 1.3.1 --- Related Works of Model-based Reasoning --- p.6 / Chapter 2 --- Framework for FPDX System --- p.8 / Chapter 2.1 --- Overview of FPDX --- p.8 / Chapter 2.2 --- Graphics User Interface --- p.10 / Chapter 2.2.1 --- A Library of Floor Plan Design Elements --- p.11 / Chapter 2.3 --- Floor Plan Compiler --- p.15 / Chapter 2.3.1 --- Diffculties in acquisting the Semantic Knowledge from AutoCAD files --- p.15 / Chapter 2.4 --- Inference Engine of FPDX --- p.16 / Chapter 2.4.1 --- Design Data Base --- p.16 / Chapter 2.4.2 --- Knowledge Base of Government Regulations --- p.19 / Chapter 2.4.3 --- Inference Mechanism --- p.21 / Chapter 3 --- Model-based Expert System --- p.24 / Chapter 3.1 --- Advantages of Applying Model-based System to FPDX --- p.25 / Chapter 3.2 --- Modelling Designs --- p.26 / Chapter 3.3 --- Reasoning A Design --- p.30 / Chapter 3.3.1 --- Reasoning at the Component Level --- p.30 / Chapter 3.3.2 --- Reasoning at the Subsystem Level --- p.33 / Chapter 3.4 --- Prolog Programming Environment --- p.34 / Chapter 4 --- Frame-based Knowledge System --- p.35 / Chapter 4.1 --- Benefits of Hierarchical Frames --- p.35 / Chapter 4.2 --- Knowledge Representation of FPDX --- p.36 / Chapter 4.2.1 --- Reasons of Applying Frames to FPDX --- p.36 / Chapter 4.2.2 --- Advantages of Using Frames in FPDX --- p.37 / Chapter 4.3 --- Syntactic Knowledge and Semantic Knowledge --- p.38 / Chapter 4.3.1 --- Syntactic Knowledge --- p.38 / Chapter 4.3.2 --- Semantic Knowledge --- p.40 / Chapter 4.4 --- Illustration of Frames of FPDX --- p.40 / Chapter 4.4.1 --- AKO and APO Inter-relationships --- p.41 / Chapter 4.4.2 --- Different Types of Inheritance in FPDX --- p.43 / Chapter 5 --- An Example --- p.45 / Chapter 6 --- Conclusions --- p.54 / Appendices --- p.55 / Chapter A --- Illustration of Graphical Design Elements --- p.56 / Chapter B --- Hierarchy of Frames of FPDX Elements --- p.61 / Chapter C --- Part of the AutoLISP Program on Regulations --- p.66 / Chapter D --- Prolog Predicates of FPDX --- p.68 / Chapter E --- A Glossary of Building Regulations --- p.76 / Bibliography

O trabalho analisa a forma pela qual estudantes de arquitetura e arquitetos recém-formados têm se apropriado do desenho técnico para a realização de seus trabalhos de projeto arquitetônicos. Constata que a ocorrência de desenhos pouco expressivos ou comunicativos se deve a deficiências no ensino básico de geometria projetiva, das convenções e particularidades do desenho técnico arquitetônico. Detecta também a ocorrência de falta de conhecimento técnico-construtivo de construção civil. Verifica que o pouco domínio desses conhecimentos, necessários ao exercício da profissão de arquiteto, compromete seu bom desempenho. Propõe a reflexão e a revisão de algumas posturas e a possibilidade de novas abordagens didáticas, a fim de contribuir para a qualidade do ensino de desenho nos cursos de arquitetura e urbanismo e, consequentemente, para uma maior capacitação profissional do arquiteto. / The present work analyses how architecture students and former graduates have appropriated technical drawing techniques in order to carry out architectural projects. Inexpressive and poorly communicative drawings are shown as a result of deficiencies in teaching some disciplines, such as basic projective geometry, conventions and particularities of technical and architectonical drawing. This study reveals a lack of technical-constructive knowledge in civil construction. It also proves that poor mastery of this type of knowledge, so fundamental for the exercise of the architect\'s profession, compromises proper performance. We propose reflection and revision of existing paradigms, as well as some new didactic approaches to enhance the quality of the drawing teaching process in architecture and urbanism programs and, in consequence, offer better professional training to architects.

Esta tese tem como foco principal a análise das letras e letreiros presentes em projetos arquitetônicos desenvolvidos entre 1925 e 1955 na cidade de São Paulo. Leva em consideração tanto as letras utilizadas para fornecer informações, quanto aquelas projetadas com o intuito de efetivamente serem inseridas nas edificações. O desenvolvimento da pesquisa aqui relatada foi baseado num corpus constituído por 170 projetos arquitetônicos de autoria de arquitetos cujo trabalho está significativamente relacionado ao estilo Art Déco: o Escritório Técnico Ramos de Azevedo Severo & Villares; o escritório Siciliano & Silva; e os arquitetos Elisiário Bahiana, Álvaro Botelho, Gregori Warchavchik, Rino Levi e Jayme da Fonseca Rodrigues. Teriam as letras e os letreiros utilizados nas pranchas de projetos arquitetônicos desse período, repetido as características gráficas e posturas encontradas também nos letreiros de edificações Art Déco construídas? Esta é a questão central da tese, que procura ainda, responder a questões secundárias relativas à relação entre estilo de letra e edificação; ao estabelecimento de padrões de desenho de letras em escritórios, ou entre escritórios; e à possibilidade de identificação dos profissionais envolvidos no desenho das letras e letreiros. Em relação ao letreiros arquitetônicos projetados para uso nas edificações, buscou-se compreender de que maneira isso ocorreu no trabalho dos arquitetos analisados, verificando como eram detalhados e especificados esses letreiros. Também fez parte deste trabalho, o levantamento das práticas de ensino do desenho de letras e caligrafia dentro dos principais cursos de formação profissional para arquitetos e desenhistas existentes em São Paulo naquele momento, o do Liceu de Artes e Ofícios de São Paulo, o da Escola Politécnica de São Paulo e o da Escola de Engenharia do Mackenzie College. A resposta à questão central foi positiva, porém com nuances nos resultados conforme as características particulares de cada um dos arquitetos. Os questionamentos secundários revelaram descobertas que possibilitaram um maior entendimento sobre o uso dos letreiros no desenho arquitetônico. / This dissertation focuses on the analysis of the letters and letterings found in architectural drawings produced between 1925 and 1955 in the city of São Paulo. It takes into account the letters used to convey information, and also those designed to be part of the buildings. The development of the research reported here was based on a corpus of 170 architectural designs from major architects whose work is significantly related to the Art Déco style: the companies Escritório Técnico Ramos de Azevedo Severo & Villares, and Siciliano & Silva; and the architects Elisiário Bahiana, Álvaro Botelho, Gregori Warchavchik, Rino Levi, and Jayme da Fonseca Rodrigues. Would the letters and letterings present in architectural drawings during this period, have repeated graphic characteristics and postures also found in architectural lettering on Art Déco buildings from the same period? This is the central question of this dissertation, that also aims to answer secondary issues regarding the relationship between letterform and architectural styles; the establishment of lettering standards in the offices or between them; and the possibility of identification of those responsible for drawing those letters and letterings. Concerning the design of letters for architectural use, it was sought to understand how that occurred in the work of the architects analyzed, observing how were detailed and specified. A survey of lettering and calligraphy teaching practices in the main professional courses for architects and draftsmen in São Paulo in the period was also conducted. The answer to the central question was positive, but with nuanced results according to particular characteristics from each architect. Secondary questions revealed findings that made possible a better understanding of the practice of lettering in architectural drawing.

Esta dissertação trata do desenho de obra, tomado como um meio de aproximação aos processos de produção do projeto e da obra e às relações que se estabelecem entre eles. O desenho de obra é proposto como objeto de pesquisa, sobretudo, por representar mediação entre momentos e instâncias de concepção e de execução na produção do espaço, constituindo fruto do processo de projeto que orienta a construção em canteiro. A partir de aproximações teóricas ao desenho de obra, que o situam como instrumento técnico no modo de produção, foi estudado seu uso ao longo da história. Procurou-se entender os processos que engendraram a separação entre instâncias distintas de concepção e de execução na produção de arquitetura, determinados por uma crescente divisão do trabalho. Essas aproximações teóricas e históricas fundamentam as questões que guiaram a observação do trabalho e as conversas com os agentes de projeto e de obra em quatro situações concretas de canteiros de obras residenciais em São Paulo. As análises sobre essas situações buscam compreender as determinações recíprocas entre os processos de produção do projeto e da obra e suas implicações para o desenho de obra e para a produção de arquitetura. / The present dissertation discusses the building-work drawing, addressed as a means of approaching the production process of design and the building-works, as well as the relations established between them. The building-work drawing is proposed as the research object, especially because it represents the mediation between moments and instances of conception and of construction in the production of space, and constitutes the result of the process of design that guides the construction in the building site. The use of building-work drawing was studied along history, starting from theoretical approaches that situate it as technical instrument in the mode of production. It aimed at understanding the processes that engendered the separation between distinct instances of conception and of construction in the production of architecture, determined by an increasing division of labor. These theoretical and historical approaches support the questions that guided the observation of the labor activities and the conversations with the agents of projects and works in four specific situations of residential building sites in São Paulo. The analysis of these cases seeks to understand the reciprocal determinations between the production process of the design and the building-work, and its implications for the building-work drawing and the production of architecture.

The study addresses the automated translation of architectural drawings from 2D Computer Aided Drafting (CAD) data into a Building Information Model (BIM), with emphasis on the nature, possible role, and limitations of a drafting language Knowledge Representation (KR) on the problem and process. The central idea is that CAD to BIM translation is a complex diagrammatic interpretation problem requiring a domain (drafting language) KR to render it tractable and that such a KR can take the form of an information model. Formal notions of drawing-as-language have been advanced and studied quite extensively for close to 25 years. The analogy implicitly encourages comparison between problem structures in both domains, revealing important similarities and offering guidance from the more mature field of Natural Language Understanding (NLU). The primary insight we derive from NLU involves the central role that a formal language description plays in guiding the process of interpretation (inferential reasoning), and the notable absence of a comparable specification for architectural drafting. We adopt a modified version of Engelhard's approach which expresses drawing structure in terms of a symbol set, a set of relationships, and a set of compositional frameworks in which they are composed. We further define an approach for establishing the features of this KR, drawing upon related work on conceptual frameworks for diagrammatic reasoning systems. We augment this with observation of human subjects performing a number of drafting interpretation exercises and derive some understanding of its inferential nature therefrom. We consider this indicative of the potential range of inferential processes a computational drafting model should ideally support. The KR is implemented as an information model using the EXPRESS language because it is in the public domain and is the implementation language of the target Industry Foundation Classes (IFC) model. We draw extensively from the IFC library to demonstrate that it can be applied in this manner, and apply the MVD methodology in defining the scope and interface of the DOM and IFC. This simplifies the IFC translation process significantly and minimizes the need for mapping. We conclude on the basis of selective implementations that a model reflecting the principles and features we define can indeed provide needed and otherwise unavailable support in drafting interpretation and other problems involving reasoning with this class of diagrammatic representations.

The numerous illustrations--or better yet demonstrations--in Viollet-le-Duc's Dictionnaire Raisonne of Gothic architecture were the most powerful means of implementing biological metaphors in order to transfer or situate the discourse of architecture within the realm of nineteenth century positivistic science. Viollet-le-Duc borrowed dissective strategies of representation from the field of anatomy to implement his alternate 'vision' for appropriating architectural knowledge. By inscribing anatomical metaphors within his architectural drawings, Viollet-le-Duc could filter the viewer's conception of architecture through his own appropriation of anatomy's critical and selective methods of representation. This scientific approach to architectural drawing was in perfect harmony with Viollet-le-Duc's textual and conceptual mission in the Dictionnaire to not only demystify architectural knowledge as practiced at the Ecole des Beaux-Arts, but also to critically reconfigure the reader's relationship to it according to his own system. Through this process, it was his intent to change the public's way of thinking and seeing architecture.

Thesis (M.Arch.) - Carleton University, 2007. / Includes bibliographical references (p. 124). Also available in electronic format on the Internet.

This thesis explores the diverse range of textual and visual architectural representations in twelfth-century didactic texts. It argues that these representations are not arbitrarily chosen frameworks for holding data; instead, architecture can perform a certain pedagogical role. In this role architectural representations mediate between imperceptible abstract concepts in the text and the tangible world of the reader. By focusing on the relationship between text and image this thesis argues that the two play a meaningful part in conveying intangible elements of the world to the reader. The thesis creates an alternative to the historiography on architecture and its representations by redirecting focus from the development of technical drawings and onto the intellectual context of the drawings, and ultimately questions why architecture, in particular, appears so frequently in didactic manuscripts of the period. The argument is framed by two points. First, it recognises the manifold ways in which architectural representations appear by focusing on three particular examples: quadrivial texts, Richard of Saint Victor's In visionem Ezechielis, and Honorius Augustodunensis' Gemma animae. These texts provide case studies to argue the primary point of thesis, namely, that architectural representations were used to provide tangible or kinaesthetic models to aid readers' understanding of difficult material. Second, the language and structure of the three studies reflect a dimensional framework that was used to articulate particular aspects of the drawings. The dimensional aspects of the drawings appear in texts as references to length, width, height, and the typological qualities of architecture. Overall the thesis has two important implications. First by recognising the important relationship between text and image it is possible to draw out the pedagogical aims and processes present in some twelfth-century didactic works. Second, common examples of architectural representations, such as Gospel canon tables, are recognised as part of a broader spectrum of heuristic images and diagrams.