C. Marcos, A. Allepuz

Universidad de Alicante (SPAIN)
The development of new computer tools has greatly affected architectural language itself introducing a change within the history of a millenary discipline that could be easily paralleled to the discovery of linear perspective during the Renaissance. However, architectural drawing has not been affected in the same way –disregarding 3D modeling and computer renders-; that is to say, not the obvious revolution borne from the extraordinary capacity to work on a virtual three dimensional space and the possibility to anticipate the hyper-realistic final outlook of an architectural design but an equivalent key turn in 2D architectural drawing. In fact, architectural plans look quite the same now as they did before the advent of computer drawing tools.

Our reflections here are based on the following questions that could be understood as starting hypothesis: Should architectural drawing disregard the theme of representation? Can an anthropicly transformed territory, a technologically advanced building or a changing cityscape be depicted or represented likewise? Is it possible to develop different graphic narratives to acquire connotative, evocative and reference values that may highlight the architectural qualities of every particular architectural project in a customized way according to their specific values? And last, but not least, can different drawing techniques and graphic resources generate design strategies?

This paper discusses how architects may need to transform conventional modes of representation according to the content they want to convey. This is not only to explore the design strategy as a result of the graphic process developed throughout the project or the different graphic narratives used but also to reflect on the search for a specific mode of drawing. Each project should have its own way to be drawn. The final graphic results, however neat they may be, are not the main goal of this research; it is more a question of specific drawings for specific jobs, on the one hand, and the record of the graphic process as a design strategy, on the other.

This research also arises from the assumption that we must first accept that the work of architecture can be transmitted through drawings, without abandoning the usual graphic codes can, but enriching them through their processing or simple selection, making more effective graphic communication in order to evidence the qualities of the building as opposed to others that may be relegated, nuanced or denied. The use of diagrams, photocollages or analytical drawings may well serve as different notations of graphic thoughts. Finally, our field of study is focused on a series of drawings produced during the diploma year of the degree in architecture at the University of Alicante.