Nothing more than thirty years of digital revolution, which has changed our life as researchers and inexorably changed the way to represent the architecture. And why do we set this problem of epistemological nature exactly today, in the fourth year of the third millennium? I have thought a lot about it and I believe that I have understood it: for years we have defended the positions, fighting against the detractors of the computer, on the one hand, and against the fanatics on the other. We have had to learn much, and to defend ourselves from the assaults of a market that gladly would have recycled us as instructors of this or that program, faithful to this or to that software producer. We have had to study the mathematics of the NURBS and also the stereotomy of the eighteenth century, to find the roots of the new knowledge. And then finally every barrier falls and even the most brave and reactionary supporters of the pencil enumerate the computer among the working tools. And they do it, this must be clear, with the greatest carelessness: as if it were an absolutely obvious and incontestable fact. Somebody has said that the ideas, when they are really new, are at first opposed because contrary to the religion, namely to a dogmatic and incontestable faith; and finally, when they are accepted because they impose themselves by virtue of their strength, the new ideas become suddenly banal and expected. And who had written with disdain that the technology nothing would have given to our ancient knowledge, writes today to have always believed in the potentialities of the information technology applied to the drawing. Better so, for sure. But then, here, the moment has come to ponder on it and to understand, in what and how the art of drawing has changed. And so, little by little, but irresistibly, an idea is making its way, the one that the drawing has changed, yes, and radically changed: no more boards, or water colours, or digital renderings, but all these things together and much more. Therefore, not at all substitutions of one technique with another, but on the contrary integration and time that the work of the equipments returns to the Manuality. Drawing as Model, and model as a whole of representations, the most various, that transforming themselves the ones into the others, and adding more information at every transformation, in a vortex converge toward the project idea.

Preface

MIGLIARI, Riccardo
2004

Abstract

Nothing more than thirty years of digital revolution, which has changed our life as researchers and inexorably changed the way to represent the architecture. And why do we set this problem of epistemological nature exactly today, in the fourth year of the third millennium? I have thought a lot about it and I believe that I have understood it: for years we have defended the positions, fighting against the detractors of the computer, on the one hand, and against the fanatics on the other. We have had to learn much, and to defend ourselves from the assaults of a market that gladly would have recycled us as instructors of this or that program, faithful to this or to that software producer. We have had to study the mathematics of the NURBS and also the stereotomy of the eighteenth century, to find the roots of the new knowledge. And then finally every barrier falls and even the most brave and reactionary supporters of the pencil enumerate the computer among the working tools. And they do it, this must be clear, with the greatest carelessness: as if it were an absolutely obvious and incontestable fact. Somebody has said that the ideas, when they are really new, are at first opposed because contrary to the religion, namely to a dogmatic and incontestable faith; and finally, when they are accepted because they impose themselves by virtue of their strength, the new ideas become suddenly banal and expected. And who had written with disdain that the technology nothing would have given to our ancient knowledge, writes today to have always believed in the potentialities of the information technology applied to the drawing. Better so, for sure. But then, here, the moment has come to ponder on it and to understand, in what and how the art of drawing has changed. And so, little by little, but irresistibly, an idea is making its way, the one that the drawing has changed, yes, and radically changed: no more boards, or water colours, or digital renderings, but all these things together and much more. Therefore, not at all substitutions of one technique with another, but on the contrary integration and time that the work of the equipments returns to the Manuality. Drawing as Model, and model as a whole of representations, the most various, that transforming themselves the ones into the others, and adding more information at every transformation, in a vortex converge toward the project idea.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11573/383398
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