作者：Hugo C. Gomez-Tone, Javier F. Raposo Grau

发表时间：28 Dec 2023

FoAR是由高等教育出版社和东南大学建筑学院联合主办的全英文学术期刊

建筑学 / 城乡规划 / 风景园林

本刊已被 A&HCI / CSCD / Scopus / DOAJ / CSTPCD 收录

01 论 文 题 目

Manuscript Title

Characterization of conception drawing in architecture to face technological mediations

建筑概念草图在面向技术媒介时所展现出的特征

02 作 者

Authors

Hugo C. Gomez-Tone (a)(b)*, Javier F. Raposo Grau (a)

(a) Departamento de Ideacio´n Gra´fica Arquitecto´nica, Universidad Polite´cnica de Madrid, Madrid 28040, Spain

(b) Departamento de Arquitectura, Universidad Nacional de San Agust?´n de Arequipa, Arequipa 04001, Peru

03 论 文 摘 要

Abstract

The conception drawing in architecture is that allows to initiate the architectural thinking, visualizing, and discovering the first ideas. This drawing has traditionally been given as an act of linking and collaboration between thought, sight, and the movement of the hands with a tool. Identifying and recognizing its characteristics will make it possible to deal with any mediation of information technologies. To establish such characteristics, three case studies were carried out. An analysis was made of the conception drawings and interviews by the Pritzker Prize laureates: Ando, Hadid and Gehry. One condition and four characteristics have been determined: drawing is a phenomenological action that produces haptic drawings; it is an undecided process that originates unformed drawings; it is a fast action that results in small and multiplied drawings; it is a perceptual act that generates redrawn and remarked drawings; and finally, it is an action that seeks to remember to resume the creative process at another moment, which produces rudimentary conventional drawings. Knowing these before any technological mediation will be an important pedagogical contribution that will allow future architects not to alter the cognitive processes that generate the first ideas in the initial moments of the architectural project.

建筑设计中，概念草图的绘制对启发设计思维、实现可视化、捕捉灵光乍现的想法很有帮助。这种绘画方式在传统意义上被认为是一种集思想、视觉以及手工制作于一体的协作。识别与了解这种方法的特点，有助于使处理信息技术的媒介成为可能。为了明确这些特征，本文作者进行了三项案例研究，分别针对三位普利兹克奖得主——安藤忠雄、扎哈·哈迪德、弗兰克·盖里的建筑概念草图以及采访进行分析。从而确定了“一个条件”与“四个特征”：概念草图的绘制是一种可以产生触觉的现象学行为；它是一个未确定的过程，可以产生未成形的图样；它是一种快速的绘制行为，可以产出小而多的图样；它也是一种感性的行为，需要完成很多次的重新绘制以及评论标记；最后，它还是一种可以随时恢复创作过程的行为，产出尚未完善的传统绘画。在学习任何技术媒介之前了解概念草图的特点，是对建筑设计教学的一项重要贡献。这也将帮助未来的建筑师们在建筑项目设计初期产生第一个想法时，认知过程不受影响和改变。

04 关 键 词

Keywords

Conception drawing / 概念草图绘制

Architectural thinking / 建筑思考

Graphic ideation / 图形化思维

Concept / 概念

Creativity / 创造力

05 章 节 标 题

Sections Title

1. Introduction / 引言

2. Literature review / 文献综述

2.1 The conception of the architectural idea / 建筑思想的概念

2.2 The emergence and importance of the conception drawing / 绘制概念草图的紧迫性和重要性

2.3 The technological mediation in architecture / 建筑中的技术媒介

2.4 Definition of act of drawing and conception drawing in architecture / 建筑学中对于制图与概念草图的定义

3. Methodology / 研究方法

4. Results / 研究成果

4.1 Tadao Andos conception drawings for the Kara-za Theatre, Japan, 1985 / 安藤忠雄关于Kara-za剧院（日本，1985）的概念草图

4.2 Zaha Hadids conception drawings for the Vitra Fire Station, Germany, 1990-1994 / 扎哈·哈迪德关于维特拉消防站（德国，1990-1994）的概念草图

4.3 Frank Gehrys conception drawings for the DZ Bank Building, Germany, 1995-2001 / 弗兰克·盖里关于DZ银行大楼（德国，1995-2001）的概念草图

5. Discussion / 结论

5.1 Condition: the phenomenological act of drawing and the haptic drawing / 一个条件：绘画的现象学行为以及触觉绘画

5.2 Characteristic 1: the undecieded act of drawing and the unformed drawing / 特征一：绘画的不确定性行为以及未成形的图样

5.3 Characteristic 2: the continuous act of drawing and the small drawing / 特征二：绘画的连续性行为以及细碎的图样

5.4 Characteristic 3: the perceptual act of drawing and the redrawn drawing / 特征三：绘画的感知性行为以及重绘图样

5.5 Characteristic 4: the act of drawing to remember and the conventional rudimentary drawing / 特征四：为了记忆的绘画行为以及传统草图绘制

6. Conclusions / 结论

06 主 要 插 图

Illustrations

▲ 图一：安藤忠雄为日本Kara-za剧院创作的概念图，1985年。 资料来源：Ando, T., 2010. Tadao Ando 0 Process and Idea. Toto Publishing, Tokyo.

▲ 图二：扎哈·哈迪德为维特拉消防站设计的概念图，1994年。资料来源：Schumacher, Fontana-Giusti, 2004. Zaha Hadid, Complete Works. London Thames & Hudson.

▲ 图三：弗兰克·盖里为德国DZ银行大楼设计的概念图，1995-2001。资料来源：Bredekamp, H., 2004. Gehry Draws. MIT Press, Cambridge, Mass.

▲ 图四：路易斯·康(a)、弗兰克·盖里(b)、安藤忠雄(c)、扎哈·哈迪德(d)的触觉图。© 本文作者

▲ 图五：路易斯·康(a)、弗兰克·盖里(b)、扎哈·哈迪德(c)和安藤忠雄(d)的未成形图纸。© 本文作者

▲ 图六：路易斯·康(a)、弗兰克·盖里(b)、扎哈·哈迪德(c)和安藤忠雄(d)的小而多的画作。© 本文作者

▲ 图七：路易斯·康(a)、安藤忠雄(b)、扎哈·哈迪德(c)和弗兰克·盖里(d)的重绘图纸。© 本文作者

▲ 图八：路易斯·康(a)、安藤忠雄(b)、扎哈·哈迪德(c)和弗兰克·盖里(d)的传统素描草图。© 本文作者

07作 者 介 绍

Authors’ Information

Hugo C. Gomez-Tone

Professor

Department of Architecture

National University of San Agustín de Arequipa, Peru

I am an architect from Arequipa, Perú. I like to design and to fabricate things, but never before using digital fabrication. I work as a university professor in the San Agustin National University and as the coordinator of the Digital Laboratory of Design and Fabrication I hope it will soon become a member of the Fab Lab networld.

I have started using the Virtual Reality to design architectural spaces with some coleagues and students. I am interested in introducing the digital tools to the architecture field.

Javier F. Raposo Grau

Professor

Department of Graphic Ideation Architect

Polytechnic University of Madrid, Spain

TU Professor of the Department of Architectural Graphic Ideation of the School of Architecture. Polytechnic University of Madrid. Doctor of Architecture from the UPM, (2004). Architect from the ETSAM (1989). Masters Degree in Administration and Management of Construction and Real Estate Companies (MDI) from the ETSAM, (1991). Director of the IGA Department, ETSAM, UPM (2012-2022). Deputy Director of Postgraduate Studies and Teaching Staff Policy ETSAM, UPM (2022-Present).

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