It starts from the term "design", in the double sense of essential cognitive tool for the control of the project idea, or technique of representation, useful for the complete explanation to the others of the idea. The term shows a double and distinct purposes: one is essentially aimed at deep understanding of the theme and communication, especially to the performers, of stages and methods of construction, to achieve the "truth" of the building as a prerequisite to achieve harmony and beauty (in function of a "human proportions", which is at the same time physical and spiritual), while the other projected to the illustration of the work as a whole, rather than in detail, through the use of very figurative "signs" and "rules", through shared notes, keeping up with times and language (the advertising), typical of the mass culture, which make the subject easily understandable to the public user, by definition, not-specialized. Being the techniques open to increasing and continuous application developments, the evolution of information technologies and particularly of virtual digital representation systems, two- and especially three-dimensional, with faster and more effective software and with stunning and attractive results, was inevitable and obvious. As each "half" that represents of course a legitimate, appropriate and useful extension of the human arm or mind, even the architectural computerized design has its risks and dangers, examined through practical examples. The instrument, as it is, is obviously not in question (nor would it be possible to oppose the "progress"): however, you must preach (and practice) its critical use, conscious and not superficial, in the light of thought of the greatest architects of our most recent past, from Kahn to Scarpa, Perret, Le Corbusier. Their "maxims" on the nature and role of drawing in the architectural design are a warning and a lesson to remember.
Il disegno di architettura nell’era della rivoluzione informatica: strumento di conoscenza o falsificazione della realtà? / Ciarcia, SAVERIO MAURO VALERIO. - ELETTRONICO. - (2011), pp. 1-10. (Intervento presentato al convegno IL DISEGNO DELLE TRASFORMAZIONI tenutosi a NAPOLI nel 1/2 dicembre 2011).
Il disegno di architettura nell’era della rivoluzione informatica: strumento di conoscenza o falsificazione della realtà?
CIARCIA, SAVERIO MAURO VALERIO
2011
Abstract
It starts from the term "design", in the double sense of essential cognitive tool for the control of the project idea, or technique of representation, useful for the complete explanation to the others of the idea. The term shows a double and distinct purposes: one is essentially aimed at deep understanding of the theme and communication, especially to the performers, of stages and methods of construction, to achieve the "truth" of the building as a prerequisite to achieve harmony and beauty (in function of a "human proportions", which is at the same time physical and spiritual), while the other projected to the illustration of the work as a whole, rather than in detail, through the use of very figurative "signs" and "rules", through shared notes, keeping up with times and language (the advertising), typical of the mass culture, which make the subject easily understandable to the public user, by definition, not-specialized. Being the techniques open to increasing and continuous application developments, the evolution of information technologies and particularly of virtual digital representation systems, two- and especially three-dimensional, with faster and more effective software and with stunning and attractive results, was inevitable and obvious. As each "half" that represents of course a legitimate, appropriate and useful extension of the human arm or mind, even the architectural computerized design has its risks and dangers, examined through practical examples. The instrument, as it is, is obviously not in question (nor would it be possible to oppose the "progress"): however, you must preach (and practice) its critical use, conscious and not superficial, in the light of thought of the greatest architects of our most recent past, from Kahn to Scarpa, Perret, Le Corbusier. Their "maxims" on the nature and role of drawing in the architectural design are a warning and a lesson to remember.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.