Eine Plattform für die Wissenschaft: Bauingenieurwesen, Architektur und Urbanistik
Eine Plattform für die Wissenschaft: Bauingenieurwesen, Architektur und Urbanistik
Thinking Through the Screen:A Postphenomenological Investigation into Digital Drawing in Architecture Education
Despite the fact that many have mourned the digital turn in architectural drawing as something perilously insensible, when architecture students today draw it is more commonly hand on mouse than pen in hand. This paper examines ideational digital visualisation based on ethnographic field observations and semi-structured interviews carried out at the Royal Danish Academy of Arts, School of Architecture. Pallasmaa, among other critics of digital drawing (Pallasmaa, 2009, see also Graves 2012), has reminded us of the importance of embodiment for the creative process of drawing, and denounced digital drawing for an inherent haptic remoteness. When using a postphenomenological framework for analysis of students’ drawing practices a more precise image of the critique of digital drawing emerges. What Ihde has called visualism (Ihde, 2009) for architecture is as old as the profession itself and digital drawing technologies do not change this paradigm. The main difference between digital drawing and analogue drawing is the embodiment relation. However, it is not in the embodiment relation but in a hermeneutic relation and in a particular sort of alterity relation that the architecture student engages with the drawing as a thinking tool. Architectural thinking is formed through the act of drawing and the drawing is thus not a neutral representation. By exploring these relations this paper brings a new perspective of ideational visualisation in the creative arts to the extensive postphenomenological literature on visualisations.
Thinking Through the Screen:A Postphenomenological Investigation into Digital Drawing in Architecture Education
Despite the fact that many have mourned the digital turn in architectural drawing as something perilously insensible, when architecture students today draw it is more commonly hand on mouse than pen in hand. This paper examines ideational digital visualisation based on ethnographic field observations and semi-structured interviews carried out at the Royal Danish Academy of Arts, School of Architecture. Pallasmaa, among other critics of digital drawing (Pallasmaa, 2009, see also Graves 2012), has reminded us of the importance of embodiment for the creative process of drawing, and denounced digital drawing for an inherent haptic remoteness. When using a postphenomenological framework for analysis of students’ drawing practices a more precise image of the critique of digital drawing emerges. What Ihde has called visualism (Ihde, 2009) for architecture is as old as the profession itself and digital drawing technologies do not change this paradigm. The main difference between digital drawing and analogue drawing is the embodiment relation. However, it is not in the embodiment relation but in a hermeneutic relation and in a particular sort of alterity relation that the architecture student engages with the drawing as a thinking tool. Architectural thinking is formed through the act of drawing and the drawing is thus not a neutral representation. By exploring these relations this paper brings a new perspective of ideational visualisation in the creative arts to the extensive postphenomenological literature on visualisations.
Thinking Through the Screen:A Postphenomenological Investigation into Digital Drawing in Architecture Education
Hyams, Inger Louise Berling (Autor:in)
01.01.2017
Hyams , I L B 2017 , ' Thinking Through the Screen : A Postphenomenological Investigation into Digital Drawing in Architecture Education ' , Annual Meeting of the Society for Social Studies of Science , Boston , United States , 30/08/2017 - 02/09/2017 . < http://4sonline.org/files/4S17_program_abstracts.pdf >
Aufsatz (Konferenz)
Elektronische Ressource
Englisch
DDC:
720
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