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Epigraphy, Typography and Architecture: Control Over Graphic Design Beyond Drawing
Architectural drawings and architecture have a complex but undoubtedly very interesting relationship. Writing used in both has different functions, and it can even be sometimes included in the drawing category.
Typography has evolved slowly over the centuries, with slight modifications resulting from improvements in writing tools and supports. The changes that took place in early 20th century were the revulsive that led to the appearance of a “new architecture”, and of different attempts to achieve a “new typography”. Buildings from the thirties and forties are intriguing due to their rationalist style, but, undoubtedly, the signs, with their different styles of writing, moulded and secured to factories and theatres, workshops and garages, - writing converted into drawing and architecture -, makes them unique.
The different types of relationship that occur between architectural drawing, typography and architecture, - relationships of coherence and incoherence -, are addressed in this article through the analysis of 20th century buildings, plans and inscriptions. The work of architects, such as Frank Lloyd Wright, Richard Neutra or Enric Miralles is studied, as well Archigram advert-graphic design, advert-buildings like Googie’s, the Goya petrol stations, the Carrion building or the Coca-Cola factory.
Writing used in plans or drawings offers us clues that help to identify the era, the author or their purpose. These meticulous and “modern” letters form part of architectural drawing, and occasionally of architecture, reflecting architects’ interest in extending their own graphic design beyond drawing.
Epigraphy, Typography and Architecture: Control Over Graphic Design Beyond Drawing
Architectural drawings and architecture have a complex but undoubtedly very interesting relationship. Writing used in both has different functions, and it can even be sometimes included in the drawing category.
Typography has evolved slowly over the centuries, with slight modifications resulting from improvements in writing tools and supports. The changes that took place in early 20th century were the revulsive that led to the appearance of a “new architecture”, and of different attempts to achieve a “new typography”. Buildings from the thirties and forties are intriguing due to their rationalist style, but, undoubtedly, the signs, with their different styles of writing, moulded and secured to factories and theatres, workshops and garages, - writing converted into drawing and architecture -, makes them unique.
The different types of relationship that occur between architectural drawing, typography and architecture, - relationships of coherence and incoherence -, are addressed in this article through the analysis of 20th century buildings, plans and inscriptions. The work of architects, such as Frank Lloyd Wright, Richard Neutra or Enric Miralles is studied, as well Archigram advert-graphic design, advert-buildings like Googie’s, the Goya petrol stations, the Carrion building or the Coca-Cola factory.
Writing used in plans or drawings offers us clues that help to identify the era, the author or their purpose. These meticulous and “modern” letters form part of architectural drawing, and occasionally of architecture, reflecting architects’ interest in extending their own graphic design beyond drawing.
Epigraphy, Typography and Architecture: Control Over Graphic Design Beyond Drawing
Springer ser. in des. and Innovation
Agustín-Hernández, Luis (editor) / Vallespín Muniesa, Aurelio (editor) / Fernández-Morales, Angélica (editor) / Senderos Laka, María (author) / Leon Cascante, Iñigo (author) / Pérez Martínez, José Javier (author)
Congreso Internacional de Expresión Gráfica Arquitectónica ; 2020 ; Zaragoza, Spain
2020-05-12
11 pages
Article/Chapter (Book)
Electronic Resource
English
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