Architecture, as a science must be associated with mathematical logic and reasoning

Architecture, as a erudition must be associated with mathematical logic and reasoning, lest it is identified as a non-exact science wish head the visual arts (Allen, 2000, p 7). Just like the exact sciences, biology and physics, wherein pretendulated hypotheses green goddess be tried and true oer and over again by means of experiments in generally controlled environments architecture is tested through a real diametrical method. In architecture, hypotheses, in the year of design ideas and concepts argon recoiled in draftings and re empowerations which atomic number 18 in turn, balanced by mathematical equations.However, the process can only be repeated once. The reasons, which atomic number 18 quite obvious, pertain to the unavailability of a vast range of resources. The supreme come to the forecome can be a structure, encompassing and infinite, in the form of a design space or built-environment. Drawings ar a precise important aspect of architecture. An architects or artists ideas and concepts are translated in such(prenominal) using the principles of location, vanishing point, viewpoint, tracing, orthographic and isometric foreseeions, and the likes.To produce with, there is already difficulty transcribing an idea into a sensible draft copy. From the plan in pen and paper into a live, standing and habitable mental synthesis or structure poses the monolithicgest challenge of all for the proponents. Architects must be very careful in minimizing the deviation of each component from the other. Thus, there is unceasingly an attempt to relate the abstract realm of geometry with the material stuff of the construct (as cited in Petrescu, 2007, p 93). What might start out been conceived whitethorn non be drawn accordingly and consequently, may not totally materialize into reality. exacting observance of the principles in billet is fostered in that non-linear lines are edited out (Petrescu, 2007, p 102). Tracing, as one method of pictur e, showcasing a beautiful conglobation of artists and architects works, is a kind of copying from something that is already there. It is primarily based on outlines, thus the term, outline loving. Orthographic drawings on the other strive are comprised by some of the basic architectural drawings namely elevations, plans, sections, and the likes. military position drawing enables the viewer or audience to experience both fore- and back- grounds.It was however believed that perspective portrays a narrative history through which the past and present are crossed. In this reference, perspective serves as a time feel out ordering, surveying, and recreating the past from the viewpoint of the present (Allen, 2000, p 7). Some principles govern perspective drawing namely the convergence of parallel lines into the centric point and the seeming(a) decrease in distance amidst equidistant transverse lines could be determined by geometric method. Interference is introduced, with changes in scale, sampling and decontextualising, distorted shape and overlays.On the other hand, vanishing points and viewpoints, which are interrelated, affirm an ideal viewing distance between the observer and the construction, in spite of the offer of different angles and perception. Enfilade, an architectural spacial connection technique, is defined as the alignment of the centrelines of doorways or openings to a series of spaces (Goldschimdt, 2004, p 17). It has been widely riding habitd in photography, and associated with one-point perspective however, the result of a visible depth even in the presence of compressed personal distances is commendable.A plan brooks a description of a whole, if only in dickens dimensions a series of equidistant spaces or openings will be translated into a compressed image by an experienced architect who has a train eye. The drawings are non-predictive for the conditions and the end results are case-sensitive. An architectural drawing may or may n ot be authored by only one person. In a false-etymology, to de-sign becomes the collaborative efforts of a team of architects and artists (Petrescum 2007, p 100).But when the orthographic drawing had been made, this appears to be created by a single hand although amendments and comments by the team may be indicated by the hasty notes and markings on the drawing. Evans (1997) suggests that the modality of conventional architectural drawing is an expression of the perceived equivalence of wall and paper, with the drawing acting as both surface and veil for authored intentions in a manner readily transferrable into a building (as cited in Callicott, 2001).This stated advantage poses as a disadvantage as well, in that drawings can possibly mask the realization of a vast building through inherent constraints. As cited in Petrescu (2007), Evans noted that the architectural drawing is not simply a reductive and failed representation (or pre-presentation since the drawing is usually pre cedent to its object) of a building-to-be but is excessively an operator. (p. 93). The transaction between the two components is bouncy as both can be considered communication tools. The underside of drawings reveals its corporeality but they are unlooked or unread (Petrescu, 2007, p 102).Architectural drawings supposedly pass off the architects idea to the builder, but historically this actually ca engagementd separation. both type of drawing, orthographic or isometric, which is constructed of real proportional dimensions and relative coordinates cannot give the designer every insight into the qualities of appearance to the subjective viewer (Goldschimdt, 2004, p 16). Even when designers are endowed with exceptional experience in the matter, the earthy manifestation of an abstract representation is still questionable. Indeed, there is a peachy disjunction between drawings and buildings.The drawing (al nigh an accumulated partial representations), from which all else emanat es, disappears with the flack of construction. Allen (2000) states that the capacities and logics of drawing are necessarily distinct from the potentials of construction practice disrupts the easygoing characterization of drawing as the realm of absence and building as the realm of presence (p 6). The abstract realm of representation and geometry, the initial arranges of any architectural process, should be perfected as well as the physical aspect that is the building manikin. Architecture is not the only science warrant through geometry.It is likewise useful to pin down music right to its visual harmonics. Cosmological, religious and philosophical consonances were played out on the primer coat of geometry of space and its relation to an idealized organic structure (Allen, 2000, p 7). An important less(prenominal)on showcasing the sensitivity of the relationship between drawings and buildings is the marquise of 1929 by Ludwig Mies van der Rohe. It is an architectural icon , not only because it is seductive and much copied, but besides because it has near often been perceived in conditions similar to that of the artwork (Hill, 2001 p 66).Unlike most of Mies works, the marquee, now popularly called Barcelona marquise, recognised as to have a crosswise symmetry, does not focus on landscape. The imagined symmetry no longer exists because the plane bypasses and cuts the vertical planes in the form of a physical plane. The Pavilion was widely known even through photographs from 1930 to 1986 until its reconstruction as an exhibit, gallery, and historical deposit the reason for the discontinuance of its display to the public.Whether the building was taken in mordant and white or coloured photographs, there is no great going away because as was conceived by the designer, it reflected vision, and not any or all of the senses. little buildings with emphasis on the horizontal plane, wherein the top and bottom are cruciform with respect to the horizon, is also commendable such that the floating ceiling planes above and the grid of the floor pavers below are distanced equally from the eye level of the average viewer (Goldschmidt, 2004, p 16).As cited in Hill (2001), Mies architecture is formulate by representations rather than by plastic realities and the goal of projection as an empty space was successfully transcribed into the Pavilion (p 66). Water lilies burst in the reconstructed building, although as studies suggest, their presence was unintentional. As an embodiment of the ideals and principles of a locality, the Pavilion is more just than an attribution to Germany. It is the relationship with the general surroundings and Barcelona as well as the association with international modernism that makes the Pavilion a big hit.Another characteristic of great architecture is the will to gloat over the tricky unbalancing relationship between rationality and aesthetic. Mies, one of the great modernists, had won over this battle in his design of the Pavilion, imploring the use of skinny little I-beams suspended in mid-air. Evans (1997) noted that some of the finest enlarge of the modern movement was displayed by the immaculate lines and cruciform columns of the German Pavilion columns that are notorious for their structural sleight of the hand. He also noted that the perception of light and depth as exhibited by the Pavilion is admirable.The Hubbe House in Magdeburg designed in 1935 by Mies is also of modified interest because of the treatment of the outdoor and indoor areas as illusory record could be easily replaced by a photomontage. Over the time, the types and techniques of drawing have changed. Increasing exponentially, drawings used by architects are not only engrossed to the footprint of a building or its elevations. A discourse on whether perspective is truly an equivalent of the sight or merely a conventional representation based on the West had been raised. Computer-aided machines (CAM) can do lots of things with just a click of a finger.This compensates for the difficulty of conventional drawing and traditional palette to translate the proposed and desired outcome. Traditional palette may not be realistically portrayed in the building from the drawing (or even from the imagination). Evans related that unlike the visual arts, to which architecture is near associated with, the former is product-directed while the latter needs to utilize a spiritualist drawings. The technology of building materials is always and never a step forward or behind drawing techniques.There is always a discrepancy which may be caused by the changes in the shape of the materials, i.e. deformation or phase change. This is where the ultimate problem arises. The most intense activity is the construction and enjoyment of the concluding artefact, the purpose of preliminary studies to give sufficient definition for final work to begin, not to provide a complete determination in advance, as in ar chitectural drawing (as cited in Cunningham, 1998, p 9). jibe to Allen (2000), to pay close attention to the transactions between the culture of drawing and the discipline of building, the architect must simultaneously inhabit both worlds (p.6).Computers are deemed useful in almost any undertaking of a project in line with almost any profession architecture is not a stranger to this. The most complicated structure and built environments that are seen standing today have not denied the vital role that had been performed by computers. However, engineers confirm an avenue for a low technology in the building and engineering world for sketching will always be a big part of communicating the design language to the participants of the process.It is crucial in accessing the body of tacit knowledge on which the profession depends (Callicott, 2001, p 61). It is therefore sustain that in the practice of architecture and engineering, the need for employing high technology is very much just the same as that of low technology. One moralistic imperative for an architect besides evoking that architecture is a symbol of its time, buildings and structures should reflect the spirit of the age. In the time of modernism, architecture has been described as less in design and material and more in functionality and efficiency.Rampant and popular issues judicature a current time period may be well reflected into architecture not only through its design but also in its building techniques and materials. The growing concern for the conservation of the environment and its natural resources may be a responsible consideration addressed in design. The common trends in urban and modern architecture are summarized in its tag line folds and bends. Traditional drawing techniques like perspective and orthographic projections may no longer be enough for such aspirations exhibiting utmost tortuousity.Technology is architectures gauge, guiding or misguiding it to the future, to either be on or regress. Landscape urbanism was a term coined by Charles Waldheim that describes the practices of designers who replaced architecture as the primary medium in city-making. It is like interstitial discipline that operates in the spaces between buildings, infrastructural systems, natural ecologies which advocates worthy attention for the marginal spaces (Waldheim, p 59).It link the gaps between structures by preparing the ground and extending the functionality and efficiency of the buildings and its surrounding spaces like the strategic open parks and walkways aesthetically arranged with landscape components. Contemporary urban landscapes maximize the functionality of the open spaces to compensate for the commercial value of land in the city unlike before, formal themes of landscape designs in the urban were liberal and lack immediate purpose. The development of urban forms is explained by Conzen through the use of concepts such as fringe belt and burgage cycle.The former is cha racterized by a land initially occupied by large sites having low access to commercial space, which finally, transforms it (land) into a full-fledge built-up area. The progressive filling-in of plots with buildings, leading to a climax phase of maximum coverage and, ultimately, the clearance of plots preparatory to redevelopment describes the latter (Whitehand & Larkham, 1992, p 6). There is a current hierarchy in which the urban forms namely town plan, building forms, and land use is arranged within the plots or land-use units and consequently, converged to form the general framework of the town.Urban landscape cells, the smallest conglomeration of the morphologically homogenous areas that are composed of the site and the above mentioned forms, complex to form urban landscape units. Several features of urban landscape i. e. high-tech corridors, festival settings and humdrum shopping malls are associated with post-modernism. The latter is noted to be undergoing widespread economi cal restructuring, including architectural manifestations.The study of urban forms that comprise the urban landscapes is essential not only in shaping these landscapes but also for future urban planning and architecture. The design and layout of former towns, evident in the existing buildings and structures, provide information on how future ones will be established and managed. pertinacity in function and elements is revealed specifically on same sites even of different time periods. Whitehand and Larkham (1992) used Worcester, a cathedral town with a complex multi-phase plan as an example to demonstrate this point.The central sites, which are habituated to redevelopment, allow for road construction and widening. To analyze the evolution of a real town, a combination of the surviving elements of a not-so-distant urban landscape as well as cartographic, documentary and archaeological evidences are important. Although the towns and plan units are not permanent and vary through a t owns and periods, a certain parallelism can indeed be derived. As was concluded, this is essential in making future planning and designing of towns.