Contents Preface xi Introduction: The General Problem xv Representations of architectural technology; architecture and engineering as different understandings of technology; the more general cultural divide inherent in representations of technology; four houses as the subject of study; the general trajectory of the argument; a working definition of architectural technology. Part I The Reconciliation of Mechanics and Meaning in Architectural Thought 1 A Technology of Habitation 3 My winter morning window as a technology of habitation; definitions of mechanics and meaning; the primary technologies of architecture; understanding architectural technologies through their use; the purposes of architectural technology; conditions for an architectural technology of habitation; the problem of the reconciliation of mechanics and meaning. 2 Architecture's Loss of a Distinct Technological Voice 17 The rise of engineering in the building professions; architectural incorporation of engineering constructs; a case in point; critique of strategies to incorporate technical information in design; differences between engineering and architectural definitions of technology as a function of views of space, use of symbols, methods, and desired outcomes; the problems of an architectural attitude toward technology. 3 Mending the Rift: Twentieth-Century Attempts to Reconcile Mechanics and Meaning 40 Definitions of possible relationships between mechanics and meaning put forth by R. B. Fuller, Herbert Read, Amos Rapoport, and Susanne Langer; analysis of these four positions in terms of the problem of the use of technology in architecture; requirements for a broadened definition of the role of technology in architectural design. 4 The Map and the Territory 63 Why it is important to rethink the definitions of natural force; a Bachelardian map of natural force; felt force as an architectural definition of natural force; constructing scientific, engineering, and architectural maps of gravity, sunlight, and climate; the frame as the rooted order of the earth; the window as that which gathers all things into the human domain; the envelope as the boundary of touch.Part II Mechanics and Meaning in Four Houses 5 Finnish Log Farmhouse 89 Background as vernacular architecture; description of the building and its context; the mechanics of the frame, envelope, and openings of the farmhouse; analysis of the technological meaning of the farmhouse as the legacy of the notched log, gravity, and hierarchical order; the residual ridge beam, the raised floor, the thick wall, the cupped ceiling, the hearth at the center, the hearth as human caring; the precious window, and the window and the hearth; technological form as metaphors as "tangible transactions." 6 Charles Moore House at Orinda 114 Background as revolt against modern movement tenets; building description and context; the mechanics of the frame, envelope, and openings; analysis of the technological forms of the house as historic construct, square plan, ridge beam bisecting the square, roof and sky, ridge beam in the light, columns as territorial markers, canopies and light, column, wall, and corner, corner as territory, corners and space, the phenomenal floor, and temporal and transcendent light; technological metaphors as "sensually reveled belief." 7 Wall House 135 Background as the difference between Eastern and Western concepts of nature; description of the house and its context; the mechanics of the frame, envelope, and opening; analysis of the technological meaning of the house as the wall as separation, the frame as rational order; the wall and the column in the light, reciprocal openings in the wall, the courtyard as the essence of the natural world, capturing nature at the center of the house, the floor and the earth, and the vault and the sky; technological metaphors as "embedded origins." 8 Villa Savoye 155 Background as discoveries in nineteenth- and twentieth-century physics; description of the house and its context; the mechanics of the frame, envelope, and opening; analysis of the technological meaning of the house as the slab, the earth and the sky, the column and geometric order, rational and empirical form, two-way columns and one-way beams, the conditional column, rational and conditional columns as the center, column and wall as front, back, and side, the column versus the column as entry, the bottom and the top as the boundaries of the in-between, boundary as horizon, light court versus light court, climate as definition of inside and outside, and natural light in the middle of the domain; technological metaphors as "discursive distinctions."Conclusion: Metaphorical Technology 178 Nature, technology, and metaphoric thought; a formal comparison of the four houses as floors, walls, roofs, frames, and openings; the importance of a formal critique in understanding the purpose of architectural technology; a comparison of the technological metaphors that emanate from the formal analysis of the houses; the general characteristics of architecture's technological voice as proceeding from a sensible understanding of natural force; the asymmetry of mechanics and meaning, the importance of instrumental origins, and the need of people to understand nature in order to belong within it; residence in nature as a perennial architectural problem. Select Bibliography 197 Index 201
Technical drawing is essential for communicating ideas in industry and engineering.To make the drawings easier to understand, people use familiar symbols, perspectives, units of measurement, notation systems, visual styles, and page layout. Together, such conventions constitute a visual language and help to ensure that the drawing is unambiguous and relatively easy to understand. Many of the symbols and principles of technical drawing are codified in an international standard called ISO 128.
Architectural Drawing for Mechanics
The need for precise communication in the preparation of a functional document distinguishes technical drawing from the expressive drawing of the visual arts. Artistic drawings are subjectively interpreted; their meanings are multiply determined. Technical drawings are understood to have one intended meaning.[1]
A sketch is a quickly executed, freehand drawing that is usually not intended as a finished work. In general, sketching is a quick way to record an idea for later use. Architect's sketches primarily serve as a way to try out different ideas and establish a composition before a more finished work, especially when the finished work is expensive and time-consuming.
In addition, the drafter uses several technical drawing tools to draw curves and circles. Primary among these are the compasses, used for drawing simple arcs and circles, and the French curve, for drawing curves. A spline is a rubber coated articulated metal that can be manually bent to most curves.
Drafting templates assist the drafter with creating recurring objects in a drawing without having to reproduce the object from scratch every time. This is especially useful when using common symbols; i.e. in the context of stagecraft, a lighting designer will draw from the USITT standard library of lighting fixture symbols to indicate the position of a common fixture across multiple positions. Templates are sold commercially by a number of vendors, usually customized to a specific task, but it is also not uncommon for a drafter to create his own templates.
This basic drafting system requires an accurate table and constant attention to the positioning of the tools. A common error is to allow the triangles to push the top of the T-square down slightly, thereby throwing off all angles. Even tasks as simple as drawing two angled lines meeting at a point require a number of moves of the T-square and triangles, and in general, drafting can be a time-consuming process.
2D CAD systems such as AutoCAD or MicroStation replace the paper drawing discipline. The lines, circles, arcs, and curves are created within the software. It is down to the technical drawing skill of the user to produce the drawing. There is still much scope for error in the drawing when producing first and third angle orthographic projections, auxiliary projections and cross-section views. A 2D CAD system is merely an electronic drawing board. Its greatest strength over direct to paper technical drawing is in the making of revisions. Whereas in a conventional hand drawn technical drawing, if a mistake is found, or a modification is required, a new drawing must be made from scratch, the 2D CAD system allows a copy of the original to be modified, saving considerable time. 2D CAD systems can be used to create plans for large projects such as buildings and aircraft but provide no way to check the various components will fit together.
A 3D CAD system (such as KeyCreator, Autodesk Inventor, or SolidWorks) first produces the geometry of the part; the technical drawing comes from user defined views of that geometry. Any orthographic, projected or sectioned view is created by the software. There is no scope for error in the production of these views. The main scope for error comes in setting the parameter of first or third angle projection and displaying the relevant symbol on the technical drawing. 3D CAD allows individual parts to be assembled together to represent the final product. Buildings, aircraft, ships, and cars are modeled, assembled, and checked in 3D before technical drawings are released for manufacture. 2ff7e9595c
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