This dissertation seeks to provide deeper insights into architectural drawings as the principal means of expression in the demonstration, examination, and actualization of architectural; procedures. In the conventional world, the newly integrated technologies have extensively contributed to the projection of an already existing segment of architectural drawings, which may be termed as paper architecture; which are artistic projects that commence and end in drawings. Most of the compute-generated images, collages, montages, illustrations, and perspective that are made by most of the architects incline people to perceive the content that may be deemed mysterious. Additionally, accustomed and genuine, ongoing projects also have an aspect that secludes people and denies access to their impulses, which are always drawn into both appealing and repulsive. One may choose to colloquially define the unsuitable grounds of this architectural drawings as uncertainties which are equally illusionistic.
Traditional drawings are to a certain extent concise and abstract; they offer a distinction that leads to an intermediary state between the non-being and the being and directs the architect's illusion towards the apprehension of a project. On the other hand, the current architectural drawings do not incorporate this abstraction, or manifest other concepts that are not familiar to people hence take people by surprise. The contemporary representations usually incorporate lighting, transparencies and sowing a significant number of people how to use the space provided for creating art; they suggest vivacity in a not yet constructed building that is impulsively appealing and also has an artificial charisma to it.
To be at per with the current situation, I propose that there is a necessity to refer back and interrogate the origins of what defines our comprehension of the normative mannerisms of presenting various forms of architecture, that were shaped to a high level during the 15 the Century of Renaissance in Italy. Frommel proposes that the gradual transition from the perspectives of built prototypes as the primary means of expressions to detailed drawings commenced in the 13 the Century and was followed throughout the booming era of the Renaissance which led it to garner cohesive recognition by the commencement of the 16th Century(Borys). The development of the drawing perspective was initially intended to provide pictorial experiences, and its growth through the range of the 15th Century resulted in its incorporation as a crucial aspect of architectural expressions.
The diversity of artists transitioning from painting to architecture or architecture to painting led to the enrichment of both sectors as each of them become a segment of exploration for the other one. Also, while architectural space became a critical component of the various paintings at the time, pictorial criteria transitioned into a space of carrying out tests that allowed the comprehension of space and the ability to represent the inward artistic elements (Smith, Kendra, and Albert). Contemporarily, a concrete preoccupation with the concept of imagination and innovation is also available in some of the segments of architecture and painting. Integrating these comparatively new mechanisms of artistic presentation, Francesco di Giorgio Martini (1439-1501) is deemed a principal figure.
Francesco highly contributed to the acts of drawing that provided people with insights that people had extensively neglected. Apart from his sculptures, paintings, architectural projects, and sculpture activities, Francesco di Giorgio's critical contribution to the Renaissance can be attributed to his framework of theoretical undertakings known as Ingegneria and Trattati di Architettura, which were constructed and reconstructed during the sequence of his life (Bohn et al.). Francesco di Giorgio's use of drawings is not necessarily innovation. Nevertheless, his manifestation of drawings as the leading carriers for architectural thought is exclusive.
Based on the projections as mentioned above, I suggest that Francesco di Giorgio's unmatched contribution to the architectural framework is neither his theory of human analogy, nor his translation of Vitruvius, nor even his artistic machine designs as an exclusive component. Instead to be his incorporation of drawings that were blended with texts as the principal ways and the central appliance for the architects to examine, inquire, analyze, enhance and finish an architectural project that is his most significant and essential contribution on the field of art and architecture. It is therefore not astounding that Francesco di Giorgio's was not as adopted as much for his theoretical projections as it was the case of his drawings; which managed to gain access into the artistic context of the Italian Renaissance. Francesco's illustrations were consistently copied, transition, and integrated into art and architecture in multiple ways.
Francesco di Giorgio's has however never been recognized with his clear intent to mix the art of drawing and react, how they are applied, and the impacts that they produce in the imagination of the architect or the reader. Through evaluating Francesco di Giorgio's Trattati, together with his drawings, my research aims to portrait the traits of the act of drawing and association with architectural imagination. A thorough evaluation of di Giorgio's work between the two imperatively blending lines of creativity and drawings might enable people to have a better understanding of what they expect of architectural drawings in the current world, which is currently on the threshold of a noteworthy transition.
Borys, AnnMarie. Vincenzo Scamozzi and the Chorography of Early Modern Architecture. Routledge, 2017.
Bohn, Willard, et al. "291-A New Publication." The Early Avant-Garde in Twentieth-Century Literature and Art. Vol. 27. No. 1. New York: Cambridge University Press, 2018. 1-3.
Smith, Kendra Schank, and Albert C. Smith. Building the Architect's Character: Explorations in Traits. Routledge, 2017.
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