Index-Journal "Hipo-Tesis" after the loss of Javier Seguí de la Riva professor emeritus at ETSA de Madrid-UPM, well known for his contribution and research on drawing, shared a call for papers:
Drawing Habits, Inhabiting Drawings
Send to [log in to unmask] an abstract of 700 words by June 20th.
http://hipo-tesis.eu/serienumerada/index.php/ojs/navigationMenu/view/call-for-page
At each stage, architecture employs drawings as a medium for sharing information. The scale and the qualities of these two-dimensional representations can be tailored to be viewpoints of specific professional groups or users. They can communicate the design intention in few lines or, equally, integrate and visualize complex information based on scientific and technological investigation. In other words, one of the characteristics of architecture is that it has its own built-in means of critical evaluation that guides the project through all the stages of its development. Working continuously across scales ranging from 1:1 to 1:1000, the architect moves fluidly between different dimensions, between part and whole, between the empirical and the abstract. (Momoyo Kaijima, Learning from Architectural Ethnography)
Speaking and writing involve addressing someone to convey them for something. Drawing, however, does not need an outer goal (end); it is a doing without transitivity. People draw for the tension in the action. The plastic arts, in their ineffable reverie, betake themselves to the black hole of their doing, without any addressee. The works of this doing are worlds to spare, mute and expressionless, mirrors of emptiness. To whom do drawings speak to? They say nothing, they are only decoys to stimulate the interested projections of the receivers. Art fulfills its goal when it stimulates the pleasure of active (conforming) agitation. Drawing leads to nothing. (Javier Seguí, Ser Dibujo, p. 54)
Enunciated here these two reflections, only apparently contrary, it is proposed to bring to debate the field of drawing, as action, as a means of expression, as a hermeneutical method, for accessing knowledge or for communication, as a means that unites and at the same time diversifies architecture, establishing conventions and opening ways to transgress them, as a variable proposition in space and time, as a way of meeting and finding ourselves in the middle of drawing. And so, we ask ourselves:
In architecture, do we draw as a stimulus or to transmit information? What has been the meaning of drawing and architectural drawing? What do we draw for? Do we draw to learn? Do we learn by drawing? Do we draw for nothing? Do we draw to design? What do we look for when drawing? What are the qualities of drawing? Do we draw to mediate? To evaluate? As a tool? As an end in itself?
Under this theme, entitled Drawing Habits / Inhabiting Drawings, HipoTesis journal makes a call for scientific articles. Send to [log in to unmask] an abstract of 700 words by June 20th. The editorial team will select the proposals to be developed within the new issue.
*This issue of HipoTesis Numbered Issues arises from the concerns and confrontations about drawing to which Javier Seguí de La Riva, friend, teacher and important guide in the beginning of this journal, has always invited us. We want to dedicate this issue to him to commemorate his infinite contributions, his great career and his rebellious and agitator spirit.
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