INSTITUTE OF ART STUDIES,Bulgarian Academy of Sciences

Stela Borisova Tasheva

SEMIOTICS OF ARCHITECTURAL GRAPHICS

DETAILED SUMMARYof a PhD Thesis in the field of

"Theory and History of Architecture" Code 02 17 01

Scientific Advisor: Dr. Arch. Dobrina Zheleva -Martins

Reviewers: Professor Dr. Hristo Kaftandjiev

Dr. Arch. Georgii Stanishev

SOFIA2012

1

The PhD thesis was discussed and proposed for defense proceedings on 6th March, 2012, after enlargedmeeting of sector "Architecture", Institute of Art Studies, Bulgarian Academy of Sciences

The dissertation consists of an introduction, two main parts, conclusion and contributions, thematicbibliography and annexes: thesaurus and listing of illustrations' content and sources. Statistics: 172 pages(453,233 characters or 252 standard printed pages), 101 illustrations

The public PhD defence will be held on 22.06.2012 at 10:00 AM, in the Conference Hall of NationalLibrary, Sofia, in open session of the scientific jury: Professor Dr. Hristo Kaftandjiev, Dr. Arch. GeorgiiStanishev, Dr. Joanna Spassova-Dikova, Dr. Arch. Boyan Georgiev, Dr. Arch. Dobrina Zheleva-Martins,Professor Dr. Ivan Kasabov and Professor Dr. Nicolai Tuleschkov (alternate members).

The dissertation work is available to whom it may concern in the library of the Institute of Art Studies at"Krakra" № 21, After 05.22.2012, a detailed summary, reviews and opinions in Bulgarian will be posted on thewebsite of the Institute of Art Studies <http://artstudies.bg/>

2

I. GENERAL DESCRIPTION OF THE PHD THESIS

As an initial convention it should be noted that PhD thesis was pioneer and fundamental in itsscientific area. Thus, there was a significant expansion of studied fields (as to extract the essentials fromany close topic), but a reduced concentration on different aspects and stages. In order that the thesis staysadhered to architectural field, specific terminologies of semiotics and technology were strictly avoided.The terms in the aspect they had been applied in the work, were shown in the annexes.

The main proposition of the work claimed that architectural graphics was a complex semioticsystem – a whole visual language, expressed in graphic speech. This language was able to allowadequate communication and also to be a rightful participant of the semiosphere.

The proposition was proved with research over the development of architectural graphics throughhistory, examination of its functions as language, analysis of used methods, signs and systems, andfollowing its interactions with another visual languages.

Problem RelevanceThe theme development is relevant in several theoretical aspects of architectural science and

semiotics, and also in architectural practice because of the major changes imposed by new technology.The study of architectural graphics development as a sign system is of present interest for the

history of architecture, as until now there is no essential work on the history of architectural graphics.Following the contemporary architectural paradigm in science, the theme is topical for the

complete semiotic study of architectural graphics. It allows semiotic analysis of architectural images andassessment of their role in the design process, their information values and their future development.

Hitherto semiotic approach was applied many times to all architectural or graphical studies.Architectural graphics as an independent phenomenon, with its specific meaning saturation and purpose,had been subject to semiotic research in quite fewer cases. A classic survey on the semiotics ofarchitectural plans had been offered in the 70-s, by Manar Hammad and "Group 107" in Paris. In hiswork an architectural drawing had been considered a visual symbol with its content and expressionplane, further applicable with elements and properties of Hjelmslev structuralism.

The relevance of the theme follows also from the noticeable breaking with traditions inarchitectural graphic "crafts", which were successfully used until the middle of XXth century, and at thesame time from the lack of adequate analysis of the transition to new means of expression.

Another reason is the different role that an architect has been given, as previously he had been theone and only leading figure in a design process. New technological tools and new perspectives in humansociety conduct to new types of communication situations. Now communication is between all partiesinvolved in the design: in investment process or in some way consummating an architectural object, thuscomplete change in methods of recording and transferring information is presumed.

There is also search for graphic expression of new elements, processes, materials and specialistsin design and construction, and this also requires further study and development of the manifestinglanguage of an architect. The relevance of semiotic analysis of architectural graphics is based also on the architecturaleducation in Bulgaria. The academic books which are focused on graphic tools in architectural designare quite humble as number and are only describing or prescribing signs.

Thesis Aim and ObjectivesThe basic aim of the study is to explore architectural graphics from semiotic perspective. To

achieve this aim the following objectives are set:

3

● research over the historical development of the architectural graphics and its shaping as a visuallanguage

● analysis of formatting data typology transmitted by graphics● retrieval of forms and organization sets of architectural data in information transfer.● study over communication processes that are using architectural graphics● creation and testing of an original classification of architectural graphic signs● detection of trends for enrichment of graphic architectural language● exploration of architectural graphics used in monologue and dialog.● investigation of architectural graphic contributions to the META-systems of architecture and

culture in the modern world.

Research ScopeThe study is focused on communicative and symbolic aspects of key stages and objects in the

evolution of architectural graphics. The legal framework and regulations of architectural graphics are nosubject to this research. As a specific feature, it should be noted that architectural data record is notconsidered according to the size of the depicted object: whether it is interior, exterior or urban design.Although these three levels require different signs in the thesis it is accepted that the typology and theformation of all signs follow a common logic.

The survey is strictly theoretical and it is not intended to reveal any specific linguistic structure ofany leading semiotic or linguistic school in architectural graphics. The aim is neither to track a completetimeline of architectural graphics history, nor to create a graphic overview of contemporary practices andvisual signs in architectural images - while selecting facts, only semiotic aspect prevailed.

Research MethodsThe used approach is interdisciplinary - crossed methods by several major areas: architectural

theory and history on one hand, and on another: semiotics and related with it theories of information,communication and linguistics. The semiotic modus is leading: architectural graphics is considered acomplex semiotic system. The methods are:

1. A purposive analysis of books and available information in the fields of theory and history ofarchitecture, visual communication and semiotics, graphic design and art, while obtaining thenecessary data and facts; .

2. A diachronic analysis of the historical development of architectural graphics in semioticperspective;

3. A network analysis of forms, structures and organization of architectural data records while theywere occurring and later on when they are used;

4. A component analysis of communication processes and testing models of communication throughgraphic design;

5. A synthesis and approbation of author's classification of architectural graphics signs;6. An analysis of selected case studies;

Thesis Content and StructureThe thesis consisted of an introduction, two main parts, conclusion, bibliography and annexes:

thesaurus and list of figures and sources.In the introduction part were examined the relevance and necessity of the study, current state of

art, the subject, the objects, the aim, the proposition, the objectives and scope of the study, the usedmethods of work, the heading system applied and the expected results.

In the first part, entitled "Historical Development of Forms that are Recording ArchitecturalData. Aspects of Their Evolution as a Visual Language", were followed "parallel" mediums of

4

architectural content, and the main characteristics of the architectural forms of record were set. In the second part, titled "Communication. Architectural Graphics as a Visual Language", the

processes of communication which include transfer of architectural data were explored, also was made astatic record of contemporary linguistic structure and an author's classification of the existingarchitectural graphics signs.

In conclusion the findings and results of research were summarized and the importance of thestudy was demonstrated. The contributions of the thesis were specified, and were put questions for futureresearch.

Expected contributions and results: The thesis was expected to outline the boundaries of the research area "semiotics of architectural

graphics" and to offer an interdisciplinary approach to the matter. The proof on the linguistic nature ofarchitectural graphics and rethinking the content and application were also anticipated. It was alsoassumed that the study would benefit the architectural education through the reassessment of the role ofarchitectural graphics in the design process as well as with a semiotic approach display as way of work.

Outcomes in history and semiotics of architecture, architectural graphics and graphiccommunication were expected linked with the thesis objectives.

II. THESIS DETAILED SUMMARY

PART ONE of the dissertation, entitled "Historical Development of Forms for Recording theArchitectural Details. Aspects of Evolution as a Visual Language" was consisted of ten sections, nine ofwhich tracked historical aspects of architectural record of various forms and the tenth summarizedresults and conclusions.

In the first section, titled "Introduction, Primary Forms of Architectural Records," emerging ofarchitectural graphics was revealed as a part of the genesis of all type information recording. An accountof the existing ways to transfer architectural data was given, that included: speech, written observationsand ideas, graphics, instructions, manuals, treatises, models, images of architectural objects which werenot meant for architectural use, customs and rituals, containing data and key features of buildings underconstruction, etc. To identify channels for architectural data transmission (oral, ritual, graphical) andgraphic approaches (syncretic, drafting, combined) were used some ancient drawing examples as therelief of an urban settlement plan on the wall in the Neolithic cave Çatal Höyük in present-day Anatolia,Turkey, dated around 6000 BC. The spot had been noted in excavations of the archaeologist JamesMellart in the 60-s and some scholars such as Stephanie Meece later had challenged Melaart's proposalto read the image in architectural context. Subsequent architectural images from ancient Egypt were alsotaken in consideration: narrative murals and bas-reliefs containing architectural objects and in parallel,professional sketches and drawings.

Thus two trends of orientation of ancient images were exposed: aiming on narrative and onprofessional architectural records. (Fig. 1). Narrative graphics were focused on major event or person,which was not architecture itself, and building environments were used simply as reflections of observedobjects, that appeared on a picture as a background. On the other hand, professional records were used toexamine geometric and construction features of a building and also to provide guidance for itsimplementation or deployment.

In the second section, headed "Syncretic Transmission of Architectural Data in Fine and Applied

5

Arts over Time" was explored the existing natural syncretism of art and knowledge, as a distinctivefeature of ancient and medieval civilizations, and sign systems used in it were scanned. Also the mixeduse of professional architectural graphics and common graphical practices in some areas was analyzed.Initial syncretic forms of architectural images were found to emerge from the earliest hieroglyphs, wherearchitectural signs were used for a record of architectural objects – signs like plans and simplifiedsilhouettes, subsequently passing into logogrammess. Five groups syncretic images, according to theircommunication function were found trough numerous examples. Taking into account the inevitableconventions in such grouping and the possibility of simultaneous function of one image in severalgroups, the discussed sets were:

1. Artistic, in which architectural image was the main part of the depicted message, but was used asa subsystem of a visual language of a higher order: an artistic or other semiotic system. (In thiscase the main sign system has been the artistic one, and this system is the tool meant for artisticimpression.) The images were intended for general public.

2. Background graphics, where images were architectural context of some main event depicted.Thus they were only parts of the message; and again were considered as subsystems of artisticsystems and had many observers. Using architectural background was noted as common inrecreating "genius loci" or in comparison of key sites and personalities. Architectural elements,highlighting the nature of some persons can be also seen in many portraits (Fig. 2)

3. Decorative, where architectural images were recorded over an essential part of the existing builtenvironment and were subject of applied arts - mosaics, frescoes, wall paintings, reliefs, ceramicdecorations, and so on. They could be a dominant part of the message or to have only asupportive role. They again were a subsystem but of 3-dimensional systems like architecture orof applied art systems.

4. Specialized images - which were meant for professional exchange of information. They were themain part of a message and the communication situation covers a narrow professional circle ofrecipients. They were in their own independent semiotic system: professional visual language.Architectural drafting were included to this group also.

5. Research images - these were architectural images in which the built environment is the subjectof further study, more than geometric modeling of the object, or building instructions. The imageswere upgraded in additional aspects: historical, structural, optical, aesthetic, conceptual oreducational and this upgrade is the main part of the message. Research images formed meta-language: a visual graphics system designed for quite narrow range of professional observers.The continuing use of all the groups of syncretic images was observed. Specialized graphics'

enrichment through artistic methods and the application of new concepts as a result of this syncretism,was revealed through examples of reinforcement of the emotional impact of architectural images whenthey had been saturated with visions of human flow, or of the seasons or special areas. The search ofsome emotional impact caused by architectural graphics had great application from marketingperspective.

In conclusion, syncretic contents of architectural graphics, which included rational and emotionaldata was postulated in the section. Image were found to contain both precise geometry data andperformance, and lots of affective information, used to understand and experience architectural objects.

In the third section, entitled "Data Transfer in Building Practice. Modules. Geometric Methodsfor Tracing on Site. Sketches in 1:1" were revealed types of information transmitted within theconstruction practice. The role of an architect as a carrier of knowledge was examined, as this knowledgewas largely perceived as sacred and inaccessible to outsiders. The special function of an architect wasfound emphasized not only by his numerous titles trough history, but also in the way of hisrepresentation as professional in various paintings, sculptures and reliefs. The existence of "data knownby default", transmitted only orally in architectural schools and required for reading their graphics was

6

exposed. The methods of communicating design information in forms of rituals or mental structureswere shown through the example of the ceremony "pedj shes" (or "stretching the cord"), whichaccording to Wilkinson, had been obligatory for starting of any building of a temple in ancient Egypt.While performing "pedj shes" with a series of ritual acts in accordance with certain astronomical rules,the outlines of the building had been drawn on the ground, covered with plaster. In the section were alsoexplored various geometric constructs on the site and the use of modules, networks, units ofmeasurement and sketches in 1:1 scale.

In conclusion, three methods of transferring design information in construction process wererevealed as follows:

● laying down and correcting drawings on the site, ground or wall;● using of units of measurement and modules to achieve adequate rate;● geometrically proportioning in chosen ratio, by following rule or formula;

These methods suggested two types of organization of architectural data: as a geometricaldependence, construction, rule or formula (e.g.: two - or n - times larger size compared to alreadyselected size, the size of the diagonal is "n" times size of perpendicular to some line, circular order orcyclic placement and proportion, a mathematical formula or function used to create form or volume) oras simple correspondences between shapes and sizes (element, with its own width, length or size, whichcan be written in figures).

An example of organizing spatial data by geometric construction was shown in the ancientmethods of proportioning explored by some scholars (Fig. 3, left). There was presented a specificalgorithm – based on a system of squares - and the final interior proportions were a consequence of thesesquares built on site by lines and compasses. It was suggested that an example for a simplecorrespondences could be any drawing that was possible to be reproduced by specifying a line and itsspecific size, as in the plan of a garden with dimensional signs of outside walls on the New Kingdomdrawing board (Fig. 3, right)

In the fourth section, named "Evolution of Three-dimensional Utterance of Architectural Datain Models," were examined architectural details and sign systems in modeling practice and professionalways of expression. The range of examples included models from antiquity to nowadays. The followinggroups of models were fixed:

● urns (home for dust) and burial models;● cult and religious models, parts of some ceremonies or of the "household of God";● game models for all ages, showing the typical house structure or lifestyle;● reliquaries or chases for relics, "homes" of the sacred;● vessels - "homes" for expensive substances, materials or gifts;● models presenting the "emanation" of a culture or area: souvenir models;● research models of proposed objects or sites;● design architectural models representing an overall building information;● design aspect models, which show important aspect of the object (Fig. 4 left);● conceptual models. (Fig. 4, right);

Rational and emotional components of the data stored in a model and the different stages ofcompletion (from a general volume-sculpted body to a detailed three-dimensional "jewel") werevindicated. The demand for realism and clarity in the depiction of materials was tracked from abstractpatterns drawn or painted over a model, to the selection of corresponding or even visually identicalsurfaces. The possible conventions and errors while presenting architectural information, and thetypological mixing of data sets and models were marked.

A well known path of sign evolution: from iconic signs and full realistic accordance to someresemblance and then to conditional, aspect signification was also looked through in model-making.

The use of modeling as a source for new expressive tools and new ways of work with information

7

was marked. For example using real time CAD models was an analogue to model perceiving as asmaller instance of a building, that was possible to be experienced as "live". And also, visually thesense of full overview of an object in a CAD generated model, and the logics of internal and externalaxonometric or perspective views are influenced a lot from model making.

In the fifth section entitled "Exploring Architectural Treatises and Their Illustrations as aRecord of Architectural Knowledge" were examined ways main features of architecture had beenverbally expressed. Architectural treatises of ancient times to nowadays were traced and the concept of"typological structure" was brought to light after researching various descriptions of existing facilitiesand recommendations for establishment of "ideal" buildings and cities. It represented a new, third wayof organizing architectural information, and this structure was found possible to be recorded verbally,visually or as a combination of both methods.

Thus using "typological structures" suggested a well known model and the new availableinformation had to be positioned in comparison with it. This way data sets or at least some of them werenot fixed as absolute "values", but as a relative of the model "notes" and "comparisons"; it was not thelocation and type of elements that had to be specified, but the offset and the differences with the "ideal"or "model" one.

After studying classic and contemporary architectural treatises, the main topics analyzed by thearchitect were shown as:

● "ideal architecture" - the type, quality, technology, materials, etc. ideology that architectureshould have, and all the modifications, additions and understanding of Vitruvian firmitas, utilitasand venustas;

● history studies and reconstructions of periods and locations, search on biographies of famousarchitects, on objects or styles, and choosing a position towards the existing built environmentand its historical forms.

● understanding of architecture as a part of a larger system: culture, anthropology, etc. noösphere;These themes also suggested their own graphic expression: in the first group of topics the needed

signs had to express more and more object attributes and elements and in the second and in the thirdgroup of topics signs should help keeping the dialog in several areas.

In the sixth section, with the title "Emergence and Use of Monge (Orthogonal) Projections inArchitectural Graphics", some applications of orthogonal projections - plans, sections and elevations inarchitectural practice since ancient times were examined. (Fig. 5) As early cultures used mixture ofseveral projections on common ground or drawing (probably in an effort to deliver the accurate spatiallocation of objects, their structure and logic of the arrangement - see figure 5 in the middle) theconsidered examples were grouped in three combinations of orthogonal projections:

● Mixing or combining horizontal and vertical projections. It had been a common way both toexplain the deployment and also a method for quick form recognition using mental geometriccompleting of the two projections.

● Mixing several vertical projections in one image. Except from their utterance in ancient times asan expression of spatial location, in more recent projects this mixture had been widely used forcombining sections and elevations in a drawing. This method had been giving instantunderstanding of inside and outside structural design, although no details were clearly shown.

● Merging several horizontal projections in one image. This method had been found rare and seenmost frequently in drawings on a large scale where the superimposition of horizontal projectionshad been obtained in transitional zones - the contact area of the inner and outer space or in astairwell.(Fig. 6 middle)In addition to the combination of projections on a common ground, the ways projections and

drawings were grouped in projects (Fig. 6, right) as a mathematical basis and practical application werealso noted. In the section it was shown that the combination of horizontal (or vertical in same directions)

8

projections in a drawing could be either a consequence of wishing to construct and record an object byits geometric features, or a way to deliver a new layer of information about its geometrical proportioningor anything else, and this way over the data organized in correspondence method to bring the dataorganized as formula or geometric construction. It was found that Monge projections might be used withall the three types data organizations recognized so far (correspondence of shape and size, geometricconstruction or formula and typological structure).

The growing demands of unambiguous relationship between the architecture and its record werealso marked in the section, which had to be assured with the introduction of mandatory rules and signs.

In modern architectural graphics the use of 3D plans was studied as a tool for achieving highrealism, and also some mutual influences between architectural graphics and computer game industrywere revealed. As a prerequisite to the search for simple notational meaning and realism, were put someefforts to socialize architecture and later on the desire for accessibility and clarity of graphic presentationfor untrained public.

In addition in the section were tagged two linguistic trends in the evolution of Monge projections:the trend for simplification and mixing projections of rapid "colloquial" communication and mentalunderstanding of the project, and also the trend of creating a new "terminology" vocabulary that was tosatisfy current standards and technologies. The first trend could be seen in examples of the rapid influxof orthogonal projections in design processes from the Renaissance to the present days: by increasing theconventionality of the images; in combining multiple Monge projections into a basic structure or set; infixing and following strict principles for drawing construction, order, viewpoints and size depositions.The search for new "terminology" basis was revealed in the attempts to achieve high realism in thenewly added elements in the drawings and in the formation of new architectural signs.

The study of geometrical projections as methods for recording architectural graphics continuedwith pictorial projections in the seventh section, entitled "Architectural Perspective and Axonometry inTime: Aim, Interpretation and Use." The quest for correct perspective rules and also methods forcreating pictorial images in different cultures were investigated trough various examples. (Fig.7) Thecommon mathematical basis of perspective and axonometry was taken into account and different typesof perspective were considered. The rhetorical features of perspective views were brought to light withsome words by Renzo Piano. Their parameters of application in architectural graphics were alsoexplored. A comparison between the abilities of perspective and axonometry to create an accurate andinformative records was done. (Fig. 8)

Successful applications of pictorial images were marked in two forms of organization ofinformation: through formulas or algorithm of geometric constructions, or correspondence of shapes andsizes. Although pictorial images may express a specific typological structure, due to their exact three-dimensional nature, they were rarely found useful to create references and accordance with existedvisualizations (e.g. larger, shifted or rotated objects), except in dialogical situations when the viewerswere comparing old and new versions. The opportunities to create sets of drawings including orthogonaland perspective projection, and the common use of data organization and sharing were noted.

Avoidance of conventional drafting signs, texts, notes, logos and dimensions in pictorial drawings(unlike in Monge projection) was followed due to their abstract data nature and thus their disruption ofthe integrity of the composition and authenticity impression. Therefore the trends of total realism andhigh accuracy of drawing were often applied in the very same images. The progress of photography,optics evolution, the novelties in movie making, new technologies for CAD visualization and virtualsimulations were highlighted as revolutionary factors in the design processes at the end of XX century

In the processes of developments of pictorial images there were also revealed the mentioned inthe previous section trends towards simplification and "quick" sketch in conceptual or "conversational"phase, and the demand for "terminology" by applying realistic color.

In conclusion, the applications of pictorial images in design processes was systematized: as a

9

cognitive process of design visualization or "quick" preview, as a technical approach to the display ofaccurate design and construction information; as a mean of rhetorical focus over something important,and as a META - message, characteristic of the author's architectural and artistic culture (and / or hisschool.)

In the eighth section, entitled "Progress of CAD - Means in Architectural Graphics" were tracedorigins and current uses of CAD tools in the design. According to the participation of machines therewere located three types of design processes, which were examined in details: a process entirely by hand,combined processes between hand and CAD tools or by CAD only. Series of operations until achievingthe final version of the design were schematized in each case (Fig.9)

The example of the different perception of the gestalt principle of continuation was a key forunderstanding the different feels of graphics on manual and computerized base (Fig.10). The special roleof drawing in thinking had been supplemented by some studies of the drawing teacher Betty Edwards,which had stated that "drawing ability seems to be, in part at least, an ability to make a shift in brainstate to a different mode of seeing/perceiving."

On the ground of different design algorithms and the distinctive perceiving, in the section aresupposed two possible trends that are essential to CAD future development:

● as a self-sustained drawing tool● as an imitation of manual work or a convenient way of digitizing it;

It was also noted that a software or hardware product may combine elements of both trends.Drawing and modeling softwares were discussed, and were also followed the newest trends in

parametric design, in direct connections with the production of elements with CAM modules, in BIMsoftware development, in the expected cloud technology and in some assumptions about technology type"sixth sense". Some problems arising in the management of CAD software due to the speedyintroduction of new technology and also the sharp drop out of some of them were discussed. Theevolution of computer technology in the design had been analyzed, as it had began as a relief tocalculations and complex technology operations, but later it had built their own methodology of work.

It was recognized that computer graphics as any other architectural graphics can transmit bothrational information and emotional data sets which had been put up in it by the operator. Building dataplaced in a machine could be amended in all organizing, storing and presenting ways, and also could beswitched over them. Thus with combinations of approaches and ways of organizing projects in modernparametric modeling or CAD applications, a forth, combined way of organizing information wasabstracted.

In conclusion, the main trend of working with CAD graphics was found to display the fullutilization of the latest hardware and software technologies, rather than seeking relief in the designdrawing or mimicking the manual ways of work.

In the ninth section of the thesis, titled "Trends in Use of Color, Hatch, Fonts and Decorationsas Graphic Forms of Data Transmission", the domination levels of characteristics and peculiarities of ahistorical epoch, its scientific and technological capabilities, as well as the relevant time tastes andpreferences over architectural graphics, were examined. The use of color, hatch, fonts and decorationstyle as signs and means for transmitting data with a rational and emotional content was analyzed. Threedifferent communication situations were separated following the applications of architectural graphics invarying degree of project completion: a personal sketch, a final design and a architectural record, and itwas taken into account how the use of color, hatch, fonts and decorations had been changed within theselimits. The use of iconic relevance and realism in images and cases of drawing in entirely symbolicdisplay were explored. The performance of fantastic decoration while separating text and image, and alsothe development of looks and contents of header fields (Fig.11), captions and legends were studied.

Rational data transmitted by color, hatch, fonts and decorations in architectural graphics wasregarded as iconic sign of real characteristics, as symbolic presentation of material object existing on

10

site, and as sign with high level of abstraction, which had been referred to invisible or auxiliary elementsin the drawing. As an example of "invisible" elements were indicated red net-square systems used inancient Egypt (they had expressed the proportioning system of a designed object) which were markedon the drawing surface with differing from the main sketch colors. Similar projects in today's imageswere displayed in scheme of specific spaces, areas and functions, often painted in pastel palette purposefields or in bright colors along contours.

Transmission of emotional information that can be set on purpose or simply reflected in adrawing was also examined in the section.. The use of color, hatch, fonts and decorations as specialrhetorical tool was explored and some opportunities to analyze original vision, biographical studies, orstyle preferences, reflected by emotions disclosure were highlighted.

From communication perspective the capabilities of data saturation of the color, hatch, fonts anddecorations were determined. Their contents of partial elements of architectural information: names,links of correlation between objects, materials and design, elements of typological structure types andforms of geometric constructions were emphasized.

First part results and conclusions were summarized in the tenth section. Forms of recording andtransmission of design information were systematized as: performed through ritual, through verbaldescription, by models and 3D body, through graphical schemes - orthogonal projections or pictorialimages, by CAD structure and by combinations of several ways, same as some possibilities for a partialdata record through color, hatch, fonts and decorations. Both rational and emotional typology ofarchitectural data was displayed, and it was noted that the rational part had not always been directlyrelated to architectural work, and sometimes had just been used as a background or further decorationground. It was reported that rational information had consisted of some data relative to material objects -buildings, environment, people, materials, events, etc., or had been able to describe abstract or non-existent elements - networks, modules, axes, assumptions, myths, etc. Emotional information wasreported as targeted on expressing feelings on purpose, or just to be reflected in images. Possibleorganizations of architectural data in arrays were revealed: by correspondence of shape and size, byprinciple geometric relationship (formula or construction), by typological structures, or combined partsin CAD applications

Evolution in the use of architectural graphics for communication purposes was detected: firstgraphics had been "story-telling", part of the narrative images, or just complementary, as feature or partof well known structure. Gradually, however, graphics had been professionalized and had become acommon method for placing an architectural structure. Later on images were saturated with technicaldata and graphics of several types were combined in sets. A conclusion stated that the necessary andsufficient information of an architectural object had been changing over time, due to the development ofvarious forms and means for communication.

The complex impact of graphics over its viewers was confirmed.

PART TWO of the dissertation, entitled "Communication. Architectural Graphics as a VisualLanguage", was dedicated to the process of transferring architectural data. This part consisted of eightsections, seven of which explored different aspects of the problem, and the eighth summarized theirresults and conclusions.

In the first section of the second part, headed "Communication Models in Architecture" wereanalyzed features of communication processes performed by architectural graphics and also moderntechnologies impact on them was monitored. Adaptations of several communication models based onkey semiotic ideas were used. The main factors in communication processes that had been defined in thesection were: final goals, mode of data transmission, participants in the processes and semantics ofgraphic messages.

11

The satisfaction of basic language functions in communication through architectural graphics wasexplored closely in the section. Fulfilling these functions, (according to a classification by M. Moskov,these are representative, apelative, emotive, phatic, aesthetic, meta-language, magic and game) wereisolated as possible major goals in conversing. The modes of data transmission (through sketches,drawings, Monge projections, three-dimensional image views – perspectives, axonometries and mixed,models, verbal descriptions, internal knowledge, reference with typological structures, photographs andeven videos, films and animation) were derived and added from the first part of the thesis, whilehighlighting the fact that these methods had often been applied in parallel (to ensure reading of at leastone of them).

Needs of collective, sometimes simultaneous work and approval of several participants wereplaced at the basis of a proposed circular communication model that included all parties in a clearbusiness protocol. (Fig.12) Thus at any moment, anyone could be engaged in communication and bemessaging the others. The participants in a communication process that were discussed in the sectionincluded: author of design assignment (architect); author of a project, (architect), co-authors, colleaguesand drafters, engineering team, investors, economic experts and individual (sub) contractors, supervisingdesigners in the investor's team, in the authorities and archives; clients and audiences, using andmonitoring the final architectural product, researchers and scientists, as well as possible add-ons oftechnologists, industry specialists, advertising agencies and media. The circular model allowed addingnew players, if they become available in future design processes.

After analysis of a simplified communication model from Ferdinand Saussure's base, adapted forusing architectural graphics, it was selected to model communication between any two participants in thedesign through a communication model of Shannon and Weaver (despite some of its imperfections),(Fig.13, top). In this model "a hand" was considered as a "transmitter" - a device whose most commonpurpose was data "sending" and "an eye" was taken as a "receiver", a device that received data. The brainitself was pointed as where the received and transmitted information had been interpreted, formulatedand developed, and "a signal" was formed as architectural graphics done on paper (Fig.13, below). Bythis model two groups of gaps were reported as possible reasons of noise (loss of information): those indata coding (errors of graphic expression in the code itself) and also some peculiarities of perception(errors of decoding, errors in the signal carrier). Some losses in this model coverage were compensatedby reference to the communication model of Karl Bühler, in which a third, semantic group of gaps wasrevealed. These errors had been created due to differing main concepts (darstellung) of individualparticipants when these concepts are not controlled or intentionally caused, but were found able to alterinterpretation of graphic signs.

The role of computers and their implanting in the design process was carried out in the model ofShannon and Weaver. The machines were deployed first after the basic transmitter and then - before thebasic receiver, considering the fact that encoded network signals were not understandable to the mainparticipants – source and destination. (Fig.14) The chosen variant of drawing operations order in thescheme had been commonly spread: hand sketches that were digitized and edited, then printed andevaluated (see the middle model of operations in Fig.9). An often method of work in this case wasspotted, where sketching, entering data into the machine and later on reading the full CAD information,could be performed by different individuals: an architect to propose a project in raw drawings, anotherone to enter the data and to create a finished drawing, and another one to get full understanding of thefile (and its final visualization and printing). The model outlined the fact that a computer used as a toolfor drawing and visualization, after the initial sketching assumed secondary coding of architecturalinformation, which is itself an internal communication process (transfer of information between theartwork and the computer or computer and the project preview or printed graphics). So new possibilitiesfor data loss due to the emergence of "noise" in these internal communication processes were assumed.(Fig.14, below). In other words, apart from errors due to the graphical capabilities of the manual code

12

and the possible errors of the signal, appeared also errors in data transfer from sketch to machine andfrom machine to graphic.1

It was highlighted that a computer was found both necessary to create and to read the full recordand comments of architectural graphics, as the computer gained importance not only for drawing sakebut also as a connecting device. The proposed methods to control errors in practice were such asfollowing the ideas of Shannon Weaver for an observer, and also the use of feedback. The need forspecific graphic signs supporting these control elements and processes was indicated.

In the second section of the second part, entitled "Architectural Graphics as TechnicallyAccurate Record. A Suggestion of Elements Structure and Classification", architectural graphics wasseen as serving data in extra-linguistic reality, i.e.if the author had created for himself an idea thatrepresented an architectural structure, the recipients of the graphics had to be able to reproducetechnically accurate and complete copy of this author's idea.

It was found that up to date no global standard for architectural graphic signs existed, althoughthere had been many general rules and similar graphic signs, same as some common standards coveringparts of possible situations had been adopted in most countries. In Bulgaria, in "A Construction Manualin Tables 2006", used up to date graphic standards were explained as "introduced in recent years as BNSstandards - some ISO and EN examples, and also BNS, from the seventies and eighties of the twentiethcentury, some of which are under the unified system design of the CMEA, that long time ago had beenintroduced as BNS ".2

Linking architectural graphic signs in a global semiotic system, which allowed them to getcombined (as words) into an overall drawing (text) and thus to produce new, different meaning of thisdrawing (text), much more than the simple addition of these signs one after other was postulated in thetext. Still from a formal point of view the possibility of generating records (and new architecturalstructures) through defining signs and their meanings in visual vocabularies and then random to combinethem was found existing. Thus, each finished drawing itself also might be a separate graphic system, sothat all drawings relating to a project to develop a system of higher order.

The study introduced three basic features of graphic signs in modern architectural design:● layer saturation,● range● opportunity to break the sign and (or) incorporation of "absent" signs.

Layer saturation was reported as being different from the graphic signs essence, which wasallowing their linking to each other in the drawing, because the data saturated (placed) in a new layerwas giving new "extra" dimension compaction to the "text". The range of architectural graphic signs wasexplained by graphic differentiation from other sites and objects outside the project and also the level ofdata saturation according to scale. Breaking signs and incorporating an "absent" sign was based on themain convention in architectural graphical expression: the sign of free space. The sign was named"absent3" (practically non-existent) as it was represented just by the graphic main carrier, the ground (awhite sheet, a monitor, graphics fields) that had been hosting graphics over. According to Schank Smith"at its most basic level, the production of line constitutes making marks with a pointed tool, initiated bymovement and force." and in architectural graphics every single mark on a ground was to be perceived asa sign (or a proposal) for an architectural element situated in the midst of free space. In fact in humanperception graphic signs were to be accepted as meaningful objects only when on some background, andthe creation of architectural graphic sign was found impossible without a foundation of white sheet or

1 In practice, these secondary errors existed also in communication processes and about separation of drawing work betweenmore manual participants, without any involving of a computer. The machine specificity as a means should not be regarded as a"limitation" in drawing performance or communication process, but they were pointed as new, abundant element in the process,that were requiring drawing skills and editing upgrade.

2 Божков, Й., Строителен наръчник в таблици ,СЕК, 2006, с. 513 The term of "absent" was made by the author of the thesis

13

another drawing surface.The question: "How white sheet amended its possible meanings in a manner understandable to an

observer, and how this affects graphic signs?" was posed, and as an example were considered possibleextreme changes to an "wall" sign and its reading. It was concluded that for full understanding ofarchitectural signs a preliminary level of sign knowledge was necessary and also some adherence tocertain principles of gestalt perception, facilitating sign "clustering". The special "iconic assumption" ingeneral rules of architectural sign vision was traced: a sign of "wall" was found both iconic (as if onelooked a possible cut in the wall) and symbolic (because the wall had never been cut).

A classification of three types of architectural graphics signs was proposed (Fig.15):● enclosing - images of material elements surrounding or occupying space dimensions;● indicative – signs showing characteristics of some physical environment in function, size or

location;● meta-signs - signs of a higher order, determining type and legibility of a drawing or defining

relationships between drawings in a set.As enclosing signs were accepted all records of building material elements, and it was noted that

enclosing signs had been mainly used to express "extra-linguistic" reality. According to their geometricalcharacteristics they were divided into groups of solid (cut by projection plane and absent without sub-items), passable (with built in absent signs) or vista (located under or behind the projection plane withoutcrossing it in reality). Thus, doors and windows were also solid enclosing signs that were filling holesshown in passablewall signs. This way, doors and windows serve as system neighbor components to thesign of wall in a drawing (like new words in text), forming a combination of higher order. According totheir function enclosing signs were classified as architectural, structural, technological or urban, but asingle element could perform one, two or more functions.

Clarifying functions of indicative signs were postulated, so that they were able to show profiles,sizes, materials or other features through interactions with enclosing signs. They could be embedded inan enclosing sign (formed with strokes, hatches or break) or to be placed next to it (such as dimensioninglines and text), thus creating a specific data pattern in a drawing. Indicative signs were divided into twobasic types: pictorial and textual. According to previously discussed transmission of hatch and colorfrom iconic to symbolic convention in graphic signs, the pictorial type were decomposed in twosubgroups: iconic – similar in their view to the represented material, (like hatches showing wood fladeror masonry) and symbolic (e.g. hatches of concrete slab, signs showing solid performance of an element,dimensional lines). A possible duplication of pictorial and textual data through parallel signs in adrawing, and also the addition of "legend4" meta-sign were marked thus ensuring correct delivery ofinformation.

The inability of indicative signs to exist independently, was noted, as they were found bound bycertain enclosing signs and applied within them. (Fig.15) The incorporation of an absent element inindicative signs was also revealed as possible and usually had the meaning of continuing material, objector element implementation within the drawing limits. The ability of indicative signs to perform phatic(signaling) function concerning the data nature and even to posses apelative or aesthetic functions byselecting a specific color or graphical form was considered. Another division of indicative signsproposed in the section was signs of static and dynamic type. Static signs could be applied constantly intheir field of administration. Dynamic signs were set as indicative signs that may vary within certainlimits: e.g. like the note over an element in drawing "acceptable slope of surface from 2 to 5 %."

Phatic and meta-language functions of graphic meta-signs in a drawing were clarified, as theyserved as a record of rules and methods of data arrangement and placement and to represent differentcontrol or service dispatching functions in a higher order system (that had been consisted by all thedrawings in a project). Meta-signs were substantial (e.g., a north sign, labels or notes, section lines, axis,

4 A legend: a visual dictionary in table set, which is comparing textual and graphical content, indicative of graphic sign meaning

14

Fig. 1. Narrative and professional architectural graphics of Ancient Egypt.

Fig. 2. Architecture as portrait background.

15

Fig.3. Data organization: geometric construction and correspondence.

Fig. 4. Aspect and conceptual models.

Fig.5. Ancient orthogonal projections.

16

Fig. 6. Use, assembly and setting together of drawings and projections

Fig.7. Medieval pictorial views

Fig.8. Bird's eyed view: mixed and perspective projection of large object

17

Fig. 9. Design operation until drawing a final version

Fig. 10. Gestalt law os perception: principle of grouping by "closing" and its perception

Fig. 11. Color, hatch, font and decorations: new graphic techniques

18

Fig.12. Collective "circle"model of communication

Fig. 13. Communication model by Shannon and Weaver

19

Fig.14. Involving computers in Shannon amd Weaver communication model.

Fig.15. Architectural graphic signs in working drawing phase. Personal example.

20

Fig. 16. Architectural signs used for project analysis of a reconstruction of historic building

Fig.17. The same author uses both graphics and texts

Fig.18. Methaphores of tangible and intangible concepts

21

Fig. 19. Metaphors of an author's style , created with view of graphic and line characteristics

Fig.20. Search of visual empathy

Fig.21. A "castle" vision: an original, a scenography and cultural response.

22

etc), but might be embedded in with absent elements (e.g. breaking axis or section lines inside thedrawing). Level elevation signs in a plan or section were accepted as meta-signs as they were notsupposed to mark enclosing element height but were placing a common size and rate for all floorelements yet not depending on other drawing elements, nor on any point of view. On the other handdimension signs of walls either made vertically or horizontally, were valid for specific walls and wereaccepted as indicative to them. A possibility of structural meta-sign was also pointed: e.g. selection anddesignation of projection type, the choice of palette, the choices of sets and ranges of projectpresentation. These viewpoint choices implied mentally continuing of invisible parts in correspondencewith geometrical rules of presentation, while recreating architectural model. Meta-sign were also dividedin pictorial and textual, according to the accepted graphic conventions and standards and in addition intostatic and dynamic groups due to their way of administration. Static meta-sign for example could be alevel elevation in a plan drawing, text sign for the number and size of steps in the staircase orinscriptions of the roof slope in the drawing notes. (Signs of roof slope over a facade, section orelevation elements and fields were pointed as indicative, as thew were determining only the slope ofthose specific fields and elements. On the other hand, notes of the type of "A slope of roof planes is21%.", were valid for all roof elements and were meta-sign.) Dynamic meta-sign was giving variatingparameters within certain limits or in chosen functions to a whole group of objects. The fact that suchsigns had been rare till now, but were becoming more and more necessary when introducing parametricmodeling and using of complex bio-volumes was noted.

The growing number of sign variations in time was highlighted. The proposed set of architecturalsigns (enclosing, indicative and meta-signs) was also found in pictorial architectural graphics: enclosingsigns were geometric projections of substatial elements, indicative signs indicated selected materials orother descriptive data with colors, hatches and labels, and as examples of meta-signs were chosen headercaptions. However, the study was limited to a detailed research over architectural drawing signs inMonge projection due to the predetermining iconic and literal vison of signs in pictorial images.

The use of enclosing, indicative and meta-signs into the detected in the first part ways oforganizing graphic design information (by correspondence of shapes and sizes, through principlegeometric dependence, formula or construction, by typological structures or by combining data in CADapplications), was explained as follows: in correspondence were used combinations of enclosing andindicative signs, geometric relationships and typological structures were defined by meta-signs, and theirchanges again were shown by enclosing and indicative signs; combined organizations were recorded bymeta-signs both within the used items and to define new rules of entry.

The concept of data compression, was also discussed within the section, as it was marking acertain language skill of secondary coding used in all forms of information recording: either graphic,verbal, musical or etc. (For example, when lyrics had been recorded it had been sufficient to record thechorus part once and then to note the word "chorus" for each of its repetition: thus compressing the datarecord.) Typological structures and parametric library components were also considered as a kindcompression of architectural message, because the current model information was transmitted ascompared with pre-set structure (such as shortening or displacement of a well-know, library element).The need of new meta-signs in recording of compressed messages was also examined, as these had toexplain the principles of compression itself (e.g. additional tables and inscriptions specified by thearchitect in a drawing, or invisible previously used and recorded within the software constructions andgeometric formulas which were ready to recover in the model when the next one opened the file). Thehidden data compression that was occurring when working in CAD graphic environment was alsoanalyzed. The complete visualization of a complex object data into the CAD environment would slowdown drawing editing and perceiving, so often designers achieve changes to the final structure withoutfull geometric visualization, due to the temporary nature of the graphic and its constant change atconceptual stages.

23

In the third section of the second part, entitled "Organization of Dictionary and Rules inRelation to Dialog in the Design Process", were explored additional signs and rules necessary for theconduct of graphic dialog, same as the genesis of new signs, influenced by construction and technologychanges. The analysis was focused mostly over the meta-lanaguage function and partly over the phatic,which were provided by meta-signs able to create a protocol for dialog start and course.

The following forms of dialog were examined:● Between "old" and "new" design solution;● Using an interdisciplinary (technical, engineering, historical, scientific, etc.) dictionary;● In interventions of review and approval in a drawing - prohibition and permits;● The simultaneous saturation with signs from different disciplines.

Phatic language function, which was forming the dialog start was found to be ensured bychoosing a particular type of presentation, and in fixing the increased contrast in graphic expression ofdialogue positions. It was also noted that as a drawing can introduce its own specific graphic vocabulary,meta-language meanings and rules for their reading, so a dialog might also specify its own uniquedialogical parameters

In conclusion the following tools supporting dialogue were defined:● using the same signs, but emphasizing of each interlocutor by changing the color or graphic

technique● use of new architectural graphic signs on new items● use of new data layers and indicative signs, defining the specific area of research - for example in

the analysis of buildings undergoing renovation (Fig.16)● use of dialog meta-signs recording conversation protocol or prohibition and permit signs

The fourth section of the second part, named "Authorship. Personal Influences onArchitectural Graphics, Personal Style and Creed, Original Graphics", studied graphic authorship andthe representative speech function – as an architect self-expression method, revealing his feelings andthoughts.

According to the author's contribution in a communication situation, graphics was divided intotwo main groups: primary (fundamental) and secondary (commenting) graphics. As fundamentalgraphics were stated all images concerning a process of creating an unique object, with possibleauthorship in three versions: an authorship both of graphics and of the object; only of the object, and thegraphics made by another person; an authorship only of the graphics as an illustration of somebody'sother idea. In the stages of professional dialogue, however, it was possible to re-draw and re-design anidea or architectural object. Then the one that had re-drawn or re-designed was not a primary author buta commentator.

After the authorship had been clarified, some "choices" and "preferences" were set as commonresearch parameters of architectural graphics, such as the regular use of a design phase (conceptual,technical or work), the predominant choice of "genre" (public, residential, industrial construction), mostoften occurrences of drawings in specific scale (interior, exterior, urban development scheme, etc.), andtechnological preferences of the author - paper, pencil, chalk, ink, collage, computer or else. Otherpossible research indicators offered in the section, were of graphological type – a visual compositionchoice on the paper, sizes and proportions of images, characteristics of used lines like thickness, density,duplication or interruption, fullness and completeness of objects, number of drawing variations andpreferred color palettes. As an interesting, unique parameter of architectural graphics was displayed theinformation density - the data "pattern" of the sketch. Two more specific characteristic of architecturalgraphics were revealed: the use of "metaphors" - an upgrade with additional meanings above thearchitectural data and the parallel use of textual and graphical forms on the same drawing field. (Fig.17)

Further in the section examples of personal influence on architecture and culture were discussedas a legacy in the genre of "Architecture Fantasies" and others. In conclusion, the weak development of

24

this researching field was highlighted and the complexity of assessing limits of personal and universal in"graphic" handwriting was emphasized.

In the fifth section of the second part, titled "Visual Metaphors and Graphical Interpretations.Graphics as a Heuristic Source", the specifics of creating new meanings in higher order throughapplications of visual metaphors were explored, as a sequence both of a personal search and thecharacteristics of human perception. The term "visual metaphor" in the section was used as a relativelygeneral concept of transfer of an item or technique from a system to another visual or aesthetic system inthe context of architectural graphics. The examples displayed five levels of metaphors, alone orcombined :

● level category or context – then a metaphor was transferring characteristics of one category toanother;

● level object in a category – when features of two different objects in the same category wereswitched in between them;

● level process - when actions had been performed, and operations, activities or functions weretransferred between similar processes;

● level of application - when a process had been crossed with another situation and a whole processwas transferred into new context

● level of upgrade – implanting additional meta-meanings within visual metaphors;In conclusion visual metaphors found in conceptual architectural graphics were summarized in

the following three groups:1. Intentional metaphors juxtaposing architecture with tangible elements; (Fig.18, left - as a

metaphor of rock and crystal);2. Intentional metaphors representing intangible concepts and processes, where three subgroups

were highlighted:● metaphors of philosophical ideas and categories (Fig.18 right - metaphors of the idea of

"contrast"and "stab";● metaphors of author's personal feeling and way of expression (Fig.19);● metaphors based on features of Gestalt principles of perception organization;

3. Randomly generated metaphors due to the visual ambiguity of architectural sketch;Each of these groups of metaphors were found as basic of new architecture and symbols.The abilities of graphical metaphors to go beyond their firstly designed limits and to develop in

additional levels of meaning according to artistic and visual cultures of observers were analyzed. Thechance of creating new connotations and interpretations of graphical signs was marked as an importantfeature of architectural graphics, though it had been appearing also in other visual systems. Graphicmetaphor ambiguity and its own interpretation of a concept can also be read as a metaphor of higherorder, set on purpose or obtained in occasion. The significance of graphical metaphors that allowpersonal enrichment of intellectual graphic expression was revealed and knowing previously createdmetaphors was found to cause a cultural accumulation and specific abilities of drawing "citations" andintertextual linking.

In the sixth section of the second part, named "Rhetoric of Architectural Graphics" werestudied some rhetorical techniques in architectural images. These techniques were meant to perform anapelative linguistic function of connecting with another person, by drawing his attention and raising hisconfidence in the message. Three characteristics in the use of architectural graphics as a visual languagewere shown as important: time, language potential and publicity. In a direct conversation participantswere able to share information through a constant and well known by all interlocutors code, but if adebate was recorded and written down, its duration got increased, and its issues had to remain as openquestions for future participants (i.e. the duration in time was found also increasing the number ofparticipants). So it was expected that all used graphics was granting equivalent communication abilities

25

to all newcoming participants despite any recent changes in actual codes and urban environment. Thus,the need of using universal symbols, structures and situations, and also their repetitions in similarpositions in realistic images was discussed.

From rhetorical perspective creating a positive attitude towards the visualized object wasdisplayed as providing an optimal duration of communication, provisioning of appropriate publicity andconsideration of language potential with them. To achieve these conditions were found two groups ofvisual "helpers": conceptual and artistic. To the first group were assigned all visual representations ofideas and beliefs that support the meaning of certain architectural object: display of selected figures,objects, symbols, situations and characters. In the second were adopted purely drawing techniques suchas image composition, choice of perspective point (Fig.20), graphic accents, palettes, graphics andinformation density, etc.

The "assembly" of graphics in sets was revealed in addition as META-rhetorical tool. Trends ofmore and more specialized graphic expressions, that had been profiling and preparing individual kits foreach communication event - such as "advertising" materials of a studio / an architect (a collage ofimportant projects with conceptual drawings and design "motto", photos of finished projects);advertisement of specific building elements (with a selection of application images) personalsketchbooks or notes; marketing presentation of a specific building, introducing of owners, brands andbusiness activities, etc.

In conclusion the importance of using rhetorical tools in architectural graphics was stressed, asthey were able to strongly alter any project vision and to affect observers positively or negatively.

In the seventh section of the second part, headed as "Interactions of Architectural Graphics andthe Semiosphere", architectural graphics were examined as a border zone, combining several visualizingareas: information graphics, artistic sketching, and also today - graphic designing. Drawing sets werefixed as systems of higher order for different functional variations of architectural imaging, aspreliminary sketches and pictures, technical drawings, artistic perspectives, textual descriptions anddrafting details; and as sub-systems to architectural design, personal, cultural and aesthetic views in theperiod and the systems of network communication.

The fact that realistic depiction of architecture had been easily done by using moderntechnologies in photographic and video images was analyzed. Thus were recreated both a saturation of aconcept with better experiencing of spaces and buildings and also promoting of certain architecturalimage. The distribution of architectural background presence in another, new field of visual arts:scenography was shown. Architectural visions were discovered at the basis of many modern "urbanmyths", that had become mandatory background for story-line developments and had been stronglyinfluencing consumer taste and preferences. Movies and pictures were found able to form visualarchetypes of "home", "office", "shop", "meal" or "city", "village", etc., nowadays with contemporaryarchitectural objects, about the past while recreating historical architectural monuments andenvironments, and also about the future with suggested forms. "Historic", "future", "fantastic" or "high-tech" urban and architectural environment scenography proposals were analyzed and were modifyingfeatures of mass taste, customers knowledge and directions of design searches. On the example of theconcept of a "castle" (Fig.21) a complex feedback was monitored: scenography creating an environmentthat matches the author's urban vision in a film, perception of this "castle" archetype as a characteristic ofa particular society or storyline, and later on architectural reconstruction of the renovated "castle" view.

The results and conclusions of studying communication process with the means of architecturalgraphics were summarized in the eighth section of the second part. In it were included analysis oflinguistic functions performed by architectural graphics as proof of its linguistic nature, and theidentification of occurrence and prevention of "noise" in the process. An important result was the offeredclassification of architectural graphic signs, such as enclosing, indicative and meta-signs, and theregistration of their basic properties: level saturation, range, and incorporation of absent sign. Tools for

26

creating new signs in the architectural dialogue were revealed. It was noted that classifications and signsfeatures discussed in the sections might be used for up to date synchronization of architectural graphics.

Other results were definitions of possible indicators for the study of private drawings, and thedisplayed impact of personal images used for expression of basic architectural ideas and bringing outspecialized topics. The study of manual graphics ambiguity and the analysis of graphical metaphors withthe differences in meaning set by the author, and seen by the observers were also noted.

Another result was the analysis of the rhetorical graphic tools – divided on conceptual, artistic andmeta (in systems of higher order).

In addition, visual responses to existing popular architecture and the emergence of visualarchitectural vocabulary had been revealed, and the impact of fantastic architectural views and habitableworlds in the cultural paradigm were shown.

In the CONCLUSION part were summarized results and the study importance wasdemonstrated . Thesis contributions were laid down and future issues were post.

The work results were classified in two groups:Associated with graphic development:

● Study of historical development of forms for recording architectural data.● Establishment of a database for future research in architectural graphics.● Determination of the architectural data contents of: rational and emotional information● Clarifying the information organization in architectural graphics as a typological structure,

correspondence between shapes and sizes, formulas or geometric construction, combinedCAD organization and their sets and mixtures;

● Showing methods and stages of using CAD graphics in architectural design processes.● Revealing two trends in CAD that determine the further graphical representation of

architecture: as imitation of manual work, and as a new graphic culture.Associated with semiotics of architectural graphics:

● Outlining the characteristics of architectural graphics as a complex semiotic system andprofessional graphic language.

● Study on implementations of language functions (as representative, apelative, emotive,phatic, aesthetic, meta-language, magic and game).

● Finding dependencies in the communication process involving all participants inarchitectural design.

● Analysis of communication patterns using architectural graphics between two participantswith a notion of ingrowth of CAD as drafting tool and as a way to make a networkconnection

● Offering a classification of types of signs in architectural graphics● Giving more meanings to the manual graphics as a form of thinking.● Tracking rhetorical features of architectural graphics and their use in dialogue.● Proving semiotic relationship between architectural graphics and the semiosphere

Novelty of the study was found in three directions: delineation of a new research area of architectural graphics from a semiotic perspective, summarizing some database on historicaldevelopment of architectural graphics; an approbation of classification of architectural graphics signs.

The study contributions to architectural science, to semiotics, to architectural criticism andeducation, and also as a delivery of a new research branch, were determined as follows:

Contributions to architectural science was revealed in the research on history of architecturalgraphics and on rethinkng theoretical aspects of understanding architectural graphics as a semioticsystem and internal professional language.

27

The thesis main contribution was the detection and the determination of a new knowledge branch:semiotics of architectural graphics. Studies on this area were not developed until now.

In semiotic science , the contribution was found in the proof of architectural graphics as a visuallanguage and expansion of studies of visual semiotics in architectural graphics field.

The work contributed to criticism by focusing on the vacuum between the generations and theirbeloved ways of graphic expression.

For architectural education was important to reveal a discussion of positioning manual graphicsand new technologies uses in the design process, and re-thinking of teaching on architectural graphics.

The following areas and topics for future analysis were marked: Architectural graphics inBulgaria: historical development of Bulgarian architectural graphics, features of the Bulgarianarchitectural graphic school; Semiotics of architectural graphics: iconic and symbolic architecturalsigns, cognitive aspects of visual scale perception, applications of scale in terms of dialogue, temporaryscale in CAD environment; Development of CAD architectural graphics: how to restructure andstandardize graphics in CAD applications while maintaining its creative potential, exploration ofarchitectural graphics as a subsystem of information graphic system; interactive graphic view, workingprotocols that provide constant control over data layers of architectural signs; Architectural graphics andits interactions with the semiosphere: impact of architectural graphics on various forms of art;interactions between visual semiotic systems dealing with architectural images, and so on.

28

PUBLICATION RELATED TO THESISReports on conferences and congresses: In Bulgaria

● Ташева, Стела "Семиотика на архитектурната графика - постановка на въпроса", на"Архитектурни четения 2009", ЦА БАН, 14-15.04.2009, София, САБ

● Ташева, Стела, "Архитектурната идея на град Димитровград и нейните визуализации" вПърва научна конференция "Димитровград: Градоустройство, парково изкуство, архитектура,ценностна интерпретация", ЦА БАН, 27-28.04.2010г., Димитровград

● Ташева, Стела, "Визуална реторика на архитектурната графика в периода XV-XVII век" вПърва научна сесия "Млада наука за изкуствата" НАТФИЗ "Кръстьо Сарафов" 21.05.2010 г.,София

● Ташева, Стела, "Визуализациите на град Димитровград: култура на образованието,образование в културата" в научна конференция "Култура в образованието, образование вкултурата", СУБ, 3-4.06.2010, София, СУ "Климент Охридски"

● Ташева, Стела "Монжовите проекции в архитектурната графика: план, разрез, фасада.Поява, развитие, тенденции." в научна конференция "Постижения и тенденции в развитиетона съвременния дизайн и декоративно-приложните изкуства", НХА, 18.11.2010г, София, НХА

● Ташева, Стела, "Почерк, авторство и авторски влияния върху архитектурната графика." внаучна конференция "Многообразие в единството", СУБ, 1 - 2.06.2011 г, София, СУ "КлиментОхридски"

● Ташева, Стела, "Архитектурата като обект за художника и изображението катоинструмент за архитекта", в Девети изкустоведски четения '2011, ИИИзк БАН, 9-12.06.2011,САБ

● Ташева, Стела "Тенденции при работата с CAD изображения като архитектурна графика" вПърва международна научна конференция ESI’2011 "Образование, наука, иновации",Европейски политехнически университет, 9-10.06.2011, ЕПУ, Перник

● Ташева, Стела, "Знакови функции на цвета в архитектурната графика", в международнанаучна конференция "Цвят и език", "Група Цвят България", Френски център за цвета, СУ"Климент Охридски" , Център за междукултурна комуникация и медиация, Факултет закласически и нови филологии, 23-24.06.2011, София, СУ "Климент Охридски"

● Ташева, Стела, " Архитектурната графика като точен технически запис. Структура икласификация на елементите" в научна конференция с международно участие "Дизайн-2011 -София", "Група Цвят България", Съюз на българските художници, НХА, 12-13.10.2011, София,НХА

Outside Bulgaria● Tasheva, Stela, "Semiotic Aspects of Architectural Graphics' History" In X world congress of

semiotics, "Culture of Communication, Communication of Culture" 22-26.09.2009, La Coruna,Spain;

● Tasheva, Stela, "Visual rhetoric of architectural graphic between XV- XVII century" In 9thconference of AISV/ IAVS, AISV2010 "Rhetoric of the visible. Strategies of the image betweensignification and communication", Venice, Italy, 13-16.04.2010;

● Tasheva, Stela, "Visualising the Town of Dimitrovgrad: Communication V/S Agitation andPropaganda." In "Semiotics Research. 2. Dialogues, Comparisons, Confrontations betweenSemiotics and Other Disciplines", inter-doctoral symposium in the International Centre forIntercultural Studies in Semiotics and Morphology of the University of Urbino "Carlo Bo", Urbino, 5-6.09.2010

● Tasheva, Stela, "Trends in working with CAD drawings as architectural graphics" , In ARCHTHEO2011, Theory of Architecture Symposium, Mimar Sinan Fine Arts University, 23-26.11.2011,Istanbul, Turkey

29

● Tasheva, Stela, "Visual Metaphors in Architectural Graphic and Genesis of Innovations", In ICSVC,1st International Conference on Semiotics and Visual Communication themed "from theory topractice", 25-27.11.2011, Lemesos, Cyprus

Publication of articles and reports:Bulgarian scientific issues:

● Ташева, Стела, Семиотика на архитектурната графика, В: сп. "Архитектура" бр.3, 2010г, с. 38-42, ISSN 0324-1254

● Ташева, Стела, Архитектурната идея на град Димитровград и нейните визуализации в сп."Архитектура", бр.5, 2010, с.44-46, ISSN 0324-1254

● Ташева, Стела, Визуална реторика на архитектурната графика XV-XVII век" в "Млада науказа изкуствата" М-8-М, София, с 213-221, ISBN: 9789548177511

● Ташева, Стела, Визуализациите на Димитровград: култура на образованието, образование вкултура В: "Култура в образованието и образование в културата", "Многообразие вединството", СУБ, София, 2010, 2, с.120-132, ISSN 1314-0825

● Ташева, Стела, Авторство, почерк и авторски влияния върху архитектурната графика, В:"История и съвременност", "Многообразие в единството", СУБ, София, 2011, 2, с.233-238,ISSN 1314-0825

Foreign scientific issues● Tasheva, Stela, Semiotic Aspects of Architectural Graphics' History - In:

h ttp://www.razonypalabra.org.mx/N/N70/TASHEVA-Revisado.pdf , 2010, "Relaciones Públicas",Número 70, ISSN 1605-4806

● Tasheva, Stela, Visual rethoric of architectural graphic between XV-XVII century, report, In CD:Retorica del visibile. Strategie dell’immagine tra significazione e comunicazione. 2. Comunicazioni,ISBN: 978-88-548-4072-0

● Tasheva, Stela, Visual rethoric of architectural graphic between XV-XVII century, In: Retorica delvisibile. Strategie dell’immagine tra significazione e comunicazione. 3. Contributi scelti, Aracneeditrice, 2011, p 645-656, ISBN: 978-88-548-4217-5

● Tasheva, Stela, Trends in working with CAD drawing as architectural graphics, In: Theory for thesake of the theory II, Archtheo'11 Conference proceedings, DAKAM Publishibg, Second edition,2011, p 476-486, ISBN: 978-605-4514-04-5

Absrtracts● Tasheva, Stela, Visual rethoric of architectural graphic between XV-XVII century,

abstract, in "RETORICA DEL VISIBILE, convegno dell'Associazione internazionale di semioticavisiva AISV-IASV, p. 63-64

● Ташева, Стела, Знакови функции на цвета в архитектурната графика, abstract in "Abstractsbook" of international conference "Color and language" ISSN 1314-3883

Articles in professional issues:● Ташева, С., Девети конгрес на Международната асоциация по визуална Семиотика -

AISV2010, Венеция, In: "Арх-Арт форум", N:20, 20-27.05.2010, p.12-13● Ташева, С. Семиотика в Урбино - In: "Арх-Арт форум", N:40, 7-14.10.2010, p.8● Ташева, С. ARCHTHEO 2011 – Теория за(ради) теорията - In: "Арх-Арт форум", N:49, 8-

15.12.2011, p.5, 10

30

THEMATIC BIBLIOGRAPHY QUOTED IN THE THESIS

ARCHITECTURAL GRAPHICSАнгелов, Сл., Архитектурна перспектива, Техника, С., 1963Божков, Й., Строителен наръчник в таблици ,СЕК, 2006Данов, Т., Композиция и изобразителни средства в архитектурната перспектива, София, Техника, 1977Денев, Б., Перспективата в живописта и архитектурата, 1948Донков Ат., Ръководство по архитектура Част І и ІІ, София, 1945Казакова, В., Елементи на архитектурната графика, София, 1974Кръстев, Т., Архитектурно творчество, София, Техника,1979Морозов, Д., Изобразителни похвати в архитектурата, Техника, София, 1958Нойферт, Е. Нойферт - Архитектурно проектиране, Софтпрес, 2007НАРЕДБА № 8 от 14.06.2001 г. за обема и съдържанието на устройствените схеми и планове, МРРБПопов, Ст., Методика на архитектурното проектиране, Техника, София, 1983Попов, И., Построяване на сенки в архитектурните чертежи, Техника, София, 1974

Воронихин, А. Н., Чертежи и рисунки, Литературы по строительству и архитектуры, Москва, 1952Гельб, И.Е., Опыт изучения письма, Москва, Радуга, 1982Зайцев К. Г., Графика и архитектурное творчество, Москва, Стройиздат, 1979 с. 99, 103КИТАЙСКАЯ ЖИВОПИСЬ, Колектив авторов, ред. О. Кох-Коханенко, Ростов на Дон, Феникс, 2006. с.3Кудряшев, К. В., Архитектурная графика, Архитектура – С, 2004Флоренский П.А.,ОБРАТНАЯ ПЕРСПЕКТИВА, Соч. в 4-х тт, Т. 3 (1), Москва, Мысль, 1999. С.46–98,

http://philologos.narod.ru/florensky/fl_persp.htm#1Чернихов, Я. Г., Архитектурные фантазии. 101 композиция, 1925

Alberti, Leon Battista , De Pictura, 1435, http://www.noteaccess.com/Texts/Alberti/index.htm Ching, F. D. K., Architectural Graphics, Wiley; 5 edition, 2009Ching, F.D.K., A Visual Dictionary of Architecture, Wiley,1996Della Francesca, Piero, De Prospectiva Pingendi, 1474Dernie, D., Architectural Drawing, Laurence King Publishers, 2010Dürer,А., Underweysung der Messung mit dem Zirckel und Richtscheyt, Nüremberg 1525, http://www.slub-dresden.de/sammlungen/digitale- sammlungen/werkansicht/cache.off?tx_dlf[id]=17139 Dürer, А., Vier Bücher von Menschlicher Proportion, Nürnberg, 1528 Edwards, B., Understanding Architecture through Drawings, Spon Press, 1993.Edwards, B., The New Drawing on the Right Side of the Brain, Jeremy P. Tarcher/Putnam,

NY, Third Edition, 1999Gehry, F., (Editors) M. Rappolt, R. Violette, Gehry Draws, The MIT Press, 2004, p 8-9Gilewicz,W., L. Gilewicz, Perspective Drawing in the Architectural Design Process, Journal for Geometry and Graphics,Volume 1, 1997, No. 1,59-65,

http://www.heldermann-verlag.de/jgg/jgg01_05/jgg0108.pdf Gill, R.W., Van Nostrand Reinhold manual of rendering with pen and ink, Van Nostrand Reinhold;1974Guptill, A. L., Editor: S. E. Meyer, Rendering with Pen and Ink, Crown Publishing Group, 1976Kliment, S., Architectural Sketching and Rendering: Techniques for Designers and Artists, Watson-Guptill, 1984Hepler, D. E., Drafting and design for architecture, N.Y., Thomson Delmar Learning, 2006Hewitt , M., Representational Forms and Modes of Conception, Journal of Architectural Education,1985,39/2, p.2–9Jeer, S., Barry Bain, Traditional Color Coding for Land Uses, American Planning Association, 1997,

http://www.gsd.harvard.edu/gis/manual/style/ColorConventions.pdf Jefferis, A., Commercial drafting and detailing, N.Y., Delmar Cengage Learning, 2010Lampugnani, Vittorio Magnago. Architecture of the 20th Century in Drawings. New York: Rizzoli, 1982 р. 31Lockard, W. K., Drawing As a Means to Architecture, William Kaufmann, 1994Mindeguía, F. M., Anatomía de un dibujo: el Palacio de Caprarola, de Lemercier", Annali di architettura, N: 21, Vincenza 2009, p. 115-125,

http://www.etsavega.net/dibex/Caprarola-e.htm Piranesi,Giovanni Battista, Vedute di Roma,1748; Antichita Romanae, 1748; De Romanorvm Magnificentia Et Architectvra, 1761; OsservazioniDi Gio. Battista Piranesi sopra la Lettre de M. Mariette aux auteurs de la Gazette Littéraire de l'Europe, 1765Robbins, E., Why Architects Draw, The MIT Press, 1997, p 129Schank Smith, K., ARCHITECTS’ DRAWINGS A Selection of Sketches by World Famous Architects Through History, Elsevier Ltd, 2005,

p. 2., p.4.Schank Smith, K., Architect's Sketches, Dialogue and Design, Elsevier Ltd, 2008, p.3Schaller,T. W., The Art of Architectural Drawing: Imagination and Technique, John Wiley and Sons,1997Shiratuddin, F. M., Fletcher, D., Utilizing 3D Games Development Tool for Architectural Design in a Virtual Environment, Proceedingsof 7th International Conference on Construction Applications of Virtual Reality CONVR 2007, 2007, Pennsylvania, USA Shiratuddin, M.F. & Thabet, W., Utilizing a 3D Game Engine to Develop a Virtual Design Review System, Journal of

Information Technology in Construction – ITcon, 2011, Special issue on Use of Gaming and Virtual World Technology in Architecture,Engineering and Construction.Stelley, S., Oscar Niemeyer, The 101-Year-Old Man Who Invented Brazil’s Capital, 2011 Vice Media Inc, 2010,

http://www.vice.com/read/oscar-niemeyer-856-v16n5Wakita, O., A. Linde, Richard M., Bakhoum, Nagy R. The Professional Practice of Architectural Working Drawings,

31

John Wiley and Sons Ltd, 2011, p. 50Wang, T. C., Plan and section drawing, John Wiley & Sons, Inc, 1996Yee,R., Architectural Drawing: A Visual Compendium of Types and Methods, Wiley, 2007Zell, Mo, The Architectural Drawing Course, Understand the Principles and Master the Practices, Thames & Hudson, 2008

SEMIOTICS, SEMIOTICS AND ARCHITECTURE, CULTUREБарт, Р., Нулева степен на почерка. Митологии, (Le degré zéro de l'écriture. Mythologies), София, ИК Колибри, 2004Желева-Мартинс, Д., Тектониката като теория на формата и формообразуването, Акад. Издателство "Проф. Марин Дринов", 2000Желева-Мартинс, Д., Огнището – архетип на дома – В: "Български фолклор", БАН, Институт по Фолклор,1995, брой 1-2,с.89-101Касабов, Ив., Граматика на семантиката,Университетско издателство "Св. Климент Охридски", София, 2006; Касабов, Ив., Лингвистиката между строгите науки и свободните изкуства, изд. НБУ, 2008Кафтанджиев, Хр., Визуална комуникация, Отворено общество, София, 1996Кафтанджиев. Хр., Хармония в рекламната комуникация, Сиела, 2000Кафтанджиев. Хр., Герои и красавици в рекламата, Сиела, 2007Колапиетро, В.М., (Vincent M. Colapietro) Речник по семиотика / Dictionary of semiotics, превод И. Младенов, Хейзъл, София, 2000Барабанов А. А. , Чтение города В: Семиотика пространства: сб. науч. тр. / под ред. А. А. Барабанова; Междунар. ассоциации

семиотики пространства. Екатеринбург, Архитектон, 1999.Бахтин М.М., Проблемы поэтики Достоевского. М.: Худ. лит., 1972. с. 434.Вартофский, М., Рисунок, репрезентация и понимание, В кн. Модели: репрезентация и научное понимание. Москва, Прогресс, 1988,http://www.philosophy.ru/library/wartof/wartofsky1.htmlДженкс.Ч., Язык архитектуры постмодернизма, Москва, 1985г стр.32, стр 43, стр.48Желева-Мартинс, Д., Семантика архитектурной формы, Сб. Семиотика и язык архитектуры, Москва, ВНИИТАГ, с. 81-113. 1991Лотман, Ю.М., О семиосфере, в Избр.статей в 3-х тт. Статьи по семиотике и топологии культуры. Таллин, Александра, 1992. Т.1,

http://semiotics.ru/sphere/semiosphere.htmlПопова, М., Семиотика и комуникации. Очерци и разговори за знака и неговата употреба, НБУ, София, 2004Россинская, Е.И., Искусство как средство общения. Москва, Знание, 1985.Станишев Г. Д., Архитектурная цитата в художественном образе здания.- Дисс. на соиск. учен. степ. канд. арх. В 2-х т. М.: МархИ, 1982Янковская Ю.С., Архитектурная композиция и семиотика – генезис идеи, Архитектон, 2004, 7, ISSN 1990- 4126,

http ://archvuz.ru/numbers/2004_2/pa03

Abell, W., Collective Dream in Art: A Psycho-Historical Theory of Culture based on Relations between the Arts, Psychology, and the Social Sciences, Cambridge, MA: Harvard University Press, 1952

Arnheim, R., The Power of the Center : A Study of Composition in the Visual Arts : The New Version, University of California Press,1988, p. 51

Baird, G., La Dimension Amoureuse in Architecture, In: Baird and Charles Jencks eds., Meaning in Architecture, (New York: Braziller, 1969), p. 78-99

Eco, U., La struttura assente. La ricerca semiotica e il metodo strutturale, Bompiani,2002. Eisenman P, M., Graves, C. Gwathmey, J. Hejdu, R. Meier, Five Architects: Eisenman, Graves, Gwathmey, Hejduk, Meier Oxford University

Press, USA, 1975Groupe µ, Traité du signe visuel: Pour une rhétorique de l'image, Paris: Le Seuil 1992Hammad, M., LIRE L'ESPACE COMPRENDRE L'ARCHITECTURE, Presses de l'Universite de Limoges, 2006.Hammad, M., M. Miaille, E. Provoost, C. Renaudin, and M. Vernin. Sémiotique des plans en architecture. 2 vols. Paris: Groupe 107, 1973–1976Hillier B. & Hanson , J., The Social Logic of Space, Cambridge University Press: Cambridge, 1984Hillier B., Space is the Machine: A Configurational Theory of Architecture, Cambridge University Press, 1999Jeleva-Martins, D., Verbalization of the Architectural, Iconizacion of the Verbal Text– In: Orpheus, Journal of Indo-European and ThracianStudies, Institute of Thracology at BAS, 2004, № 13-14, p. 71 – 98Jeleva-Martins, D., Space models in architecture. An historical review. В: Space and History. Urban, architectural and regional space. Skopelos

symposium proceeding, Thessaloniki, p 143-156.,1989Katz, E., The Two-Step Flow of Communication: An Up-To-Date Report on a Hypothesis, In: The Public Opinion Quarterly 21:1, Spring, 1957,

p. 61-78Krampen, M., Meaning in the Urban Environment. London: Pion, 1979 Krampen, М., Semiotics in Architecture and Industrial/Product Design, In: Design Issues

Vol. 5, No. 2, The MIT Press, (Spring, 1989), p. 124-140 Lagopoulos, A. Ph. The social semiotics of space: Metaphor, ideology, and political economy*, Semiotica 173–1/4, 2009, p. 169–213Lynch, K., The Image of the City, Cambridge: The MIT. Press, 1960Mladenov, I., Conceptualizing Metaphors. On Charles Peirce’s Marginalia, Routledge, Taylor and Francis Group, 2006McLuhan M, W. T. Gordon, Understanding Media: The Extensions of Man: Critical Edition Gingko Press; Critical edition, 2003Muntañola Thornberg, J., Semiotics and architecture: Theater and reality in Spain, 1968-1988, In Semiotica. V. 81, Issue 3-4, Pages 237–242Norberg-Schulz, C., Meaning in Western Architecture, Rizzoli, New York, 1974Peirce, C., Collected Papers of Charles Sanders Peirce, [1897]1931-1935, v 2, Cambridge, Mass.,Harvard UP.p 228Prak, N. L., The Language of Architecture; A Contribution to Architectural Theory, Mouton, The Hague, 1968.Preziosi, D., Architecture, Language, and Meaning, Mouton, The Hague, 1979Reddy, M. J., The conduit metaphor: A case of frame conflict in our language about language, In Andrew Ortony (ed.), Metaphor and Thought,

Cambridge University Press, 1979Schiffrin, D., Discourse markers, Cambridge University Press, 1987Schramm, W., How Communication Works, In The Process and Effects of Communication, ed.Wilbur Schramm, Urbana: University of Illinois

32

Press, 1954, p. 3-26Shannon, C. E., Warren Weaver, The Mathematical Theory of Communication., The Bell System Technical Journal, Vol. 27, p. 379–423,

623–656, July, October, 1948Uspenskiĭ, B. A., A poetics of composition: the structure of the artistic text and typology of a Compositional Form, University of California Press,

1983, p.158Venturi, R., D. S. Brown, S. Izenour, Learning from Las Vegas, MIT Press,1977, p.87-88 Zheleva, D., Topogenesis of the city: Semantics of the myth of origin; Architecture, semiotics and social sciences. Topogenesis, Quaderns

d’Arquitectes. Edicions UPC (Universitat Politecnica Catalunia), Barcelona, Spain, p 131-146,1997

ARCHITECTURE, HISTORY OF ARCHITECTUREБаранов, Н.В, А.В.Бунин, В.В.Большаков и др. Всеобщая история архитектуры в 12 томах, Издательство литературы по

строительству 1969-1974, т.1 с.28, с.138-155;т.4, с.329Николаев, И.С., Профессия архитектора, М., Стройиздат, 1984Никонов, П. Н., Красная линия, Государственное учреждение "Научно-исследовательский и проектный центр Генерального плана

Санкт-Петербурга", 2006 http://www.gugenplan.spb.ru/RU/51"КЛОД-НИКОЛЯ ЛЕДУ. Архитектура рассмотренная в отношении к искусству, нравам и законодательству". Том I., А.А.Барабанов,

Архитектон, Канон, 2004Краснова, О.Б., Энциклопедия искусства Древнего мира, Москва, Олма- Пресс, Образовние, 2002. стр. 65Православные храмы, т.1, Идея и образ, "Новая модель мироздания" (храм-космос), АХЦ "Арххрам", МДС 31-9.2003,

http://www.gostrf.com/Basesdoc/46/46884/index.htmПолное собрание законов Российской Империи. Собрание Второе. 12 декабря 1825 — 28 февраля 1881 гг., Издательство: Тип. II

Отделения Собственной Его Императорского Величества Канцелярии, Год издания: 1830-1885 гг, секции "Чертежи" http://runivers.ru/lib/book3136/

Alberti, Leon Battista, De re ædificatoria..., Imprint Florence, N. Alamani, 1485 http://architectura.cesr.univ-tours.fr/Traite/Images/ENSBA20A4Index.asp Alexander, C. A., Pattern Language, Towns, Buildings, Construction, [1968], Center for Envirinmental Structure studies, OUP USA, 1978.Al-Haddad, Tr., Parametric modulations in Masonry, CAADRIA 2008 Proceedings of the 13th International Conference on Computer AidedArchitectural Design Research in Asia, Chiang Mai, 2008, p. 221-228Barnes, Carl F., Jr.,Villard de Honnecourt, В: Macmillan Dictionary of Art, London, 1996, vol. 32, с. 569-571Carpo, M., Architecture in the age of printing, MIT, 2001, p.104Clarke,S., R. Engelbach, Ancient Egyptian Masonry: The Building Craft, 1930, Publisher Book Tree, 1999 p 47, Columella, DE RE RUSTICA,http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Columella/de_Re_Rustica/1*.html Dal Co, F., G. Mazzariol, Carlo Scarpa: The Complete Works, Electa/Rizzoli,1984.da Vignola, Iacomo Barozzio, Regola delli cinque ordini d'architettura (con la nuun agionta di Michelangelo Buonaroti di carte sette), XVI в.

http://www.archive.org/stream/regoladellicinqu00vign#page/n5/mode/2up da Vinci, Leonardo, The Notebooks of Leonardo da Vinci, English translation by Jean Paul Richter of 1888,

http://en.wikiquote.org/wiki/Leonardo_da_Vinci de Beauvai, Vincent, Speculi majoris Vincentii Burgundi praesulis Belvacensis,... tomi quatuor... Opus... nunc... emendatum, in lucem prodit...

apud Dominicum Nicolinum, 1591, (Bibliothèque jésuite des Fontaines), http://books.google.dk/books/about/Speculi_majoris_Vincentii_Burgundi _praes.html?id=SmhTaPyE1dAC

del Monte of Pesaro, Marquis Guidobaldo, Perspectivae libri sex, 1600De l’Orme, P., Nouvelles inventions pour bien bastir et à petits frais, Paris, Frédéric Morel, 1561,

http://architectura.cesr.univtours.fr/traite/Notice/ENSBA_Masson643.asp?param=enDesargues, Girard, Méthode universelle, 1636Desgodetz, A. B., Les edifices antiques de Rome dessinés et mesurés très exactement, 1682Dieter, A., Building in Egypt: pharaonic stone masonry, Oxford; New York: Oxford University Press, 1991, p.251 Fergusson, J., J. Burgess, Spiers, R.Phené, History of Indian and Eastern architecture, London, J. Murray, 1910,

http://www.archive.org/details/historyofindiane01ferguoft Gong Qing-yu, Structural Carpentry in Qing Dynasty, A Framework for the. Hierarchically Modularized Chinese Timber Structural Design.,Transactions of Tianjin University, vol. 8 No.01, Mart. 2002 p.16-21, http://xbywb.tjujournals.com/Upload/PaperUpLoad/ 055baea7 -7ce0-4582-81e9- 91a614387c1a.pdf Guo, Qinghua, Chinese Architecture and Planning: Ideas, Methods, and Techniques. Stuttgart and London: Edition Axel Menges 2005Kaufmann, E., Three Revolutionary Architects: Boullée, Ledoux, and Lequeu., American Philosophical Society, 1952. p.44 Krautheimer, R., Introduction to an ‘Iconography of Medieval Architecture, Journal of the Warburg and Courtauld Institutes V (1942): 1–33;reprinted in Studies in Early Christian, Medieval, and Renaissance Art (New York: New York University Press, 1969), 115–150

http://www.iecat.net/institucio/societats/AmicsArtRomanic/activitats/textosesp/espanol04.pdfLaugier, Marc-Antoine, An essay on architecture; in which its true principles are explained, and invariable rules proposed, for

directing the judgement and forming the taste of the gentleman and the architect, with regard to the different kinds of buildings, theembellishment of cities, London, Printed for T. Osborne and Shipton, 1755

http://www.archive.org/details/essayonarchitect00laugrichLayard, A. H., The monuments of Nineveh; from drawings made on the spot, John Murray, 1849Le Roy, Julien-David, Les Ruines des plus beaux monuments de la Grece, 1758Mackiewicz, Jo, What Technical Writing Students Should Know about Typeface Personality, В: J. TECHNICAL WRITING AND

COMMUNICATION, Vol. 34(1 & 2) 113-131, Baywood Publishing Co., Inc, 2004Mallgrave, H. F., Modern Architectural Theory: A Historical Survey, 1673-1968, Cambridge University Press, 2005. с.3, с.8Manetti, A. The Life of Brunelleschi, University Park: Pennsylvania State University Press 1970, p. 44

33

Meece S., A bird’s eye view - of a leopard’s spots. The ‘map’ and the development of cartographic representation in prehistory, The British Institute of Archaeology of Ankara, 2006

Mersereau, R., Cretan Cylindrical Models, American Journal of Archaeology, Vol. 97, No. 1 (Jan., 1993), Archaeological Institute of America, p.1-47, http://www.jstor.org/stable/505838

Needham, J., Science and Civilization in China: Civil Engineering and Nautics , Cambridge University Press, 1965, Volume 4, Part 3, p.96Osborne, H., Perspective, from The Oxford Companion to Western Art, 2009,

http://www.oxfor dreference.com/pages/samplep-17.html Piano, R., Renzo Piano: Sustainable Architecture, Gingko Press, 1999. Porter, T., Selling Architectural Ideas, Spon Press; 2000.Procopius Caesarensis, The Buildings, http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Procopius/Buildings/home.html Ramelli, A., Le diverse et artificiose Macchine. 1588. BSI -Banca Della Svizzera Italiana, Lugano 1992.Reymond, Eve A. E., The mythical origin of the Egyptian temple, Manchester University press, 1969,p. 316-317Ruskin.J., The seven lamps of architecture. New York: Dover Publications,[1880] 1989, p. 194Scamozzi, Vincenzo, Dell'idea della architettura universale for Girolamo Albrizzi, Venice, reprint of 1615 edition, 1714;

http://www.archive.org/details/dellideadellaarc00scam Schinz, A., The Magic Square: Cities in Ancient China, Axel Menges, 1996 с.9Serlio, S., Sette libri dell'architettura di Sebastiano Serlio bolognese, 1537Steinhardt, N. S., Chinese Traditional Architecture, Chinese Institute, 1989Stiber, L. S, E. Eusman, S. Albro, The Triumphal Arch and the Large Triumphal Carriage of Maximilian I:Two oversized, multi-block,16th-century Woodcuts from the Studio of Albrecht Durer, Annual,V.14, The American Institute for Conservation, 1995,

http://cool.conservation-us.org/coolaic/sg/bpg/annual/v14/bp14-07.html Stuart, J.& N. Revett, The Antiquities of Athens and Other Monuments of Greece, London,1762Styles, K., A. Bichard, Working Drawings Handbook, Architectural Press, 2004Vasari, G., J.C. Bondanella, P. Bondanella, The Lives of the Artists, Oxford University Press, 1998.Viollet-Le-Duc, E.-E., The Architectural Theory of Viollet-Le-Duc: Readings and Commentary, MIT Press, 1990.Viollet-Le-Duc, E.-E. The foundations of architecture. New York: George Braziller.[1854] 1990, p. 195,

http://www.archive.org/stream/regoladellicinqu00vign#page/n5/mode/2up Vitruvius, The Ten Books on Architecture, Dover,1960 (I, Ch.1 (3-5), III, Ch. 1, VII, Int. 11)

http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Vitruvius/home.html Wilkinson, R., The Complete Temples of Ancient Egypt, Thames & Hudson, 2000. p.38Zeiger, M., Role Models, In: Architect, January, 1, 2009. http://www.architectmagazine.com/bim/role-models.aspx

OTHERSМосков, М., Език и езикознание, Сиела, 2000, стр. 245-247Павсаний. Описание Эллады. В 2 т. Т. 1: Кн. I-VI. Т. 2: Кн. VII-X. М., 2002.Полибий, Всеобща история, http://antichniavtori.wordpress.com/polibiivseobshtaistoriyacontents/

Aristotle, Politics, http://www.gutenberg.org/catalog/world/readfile?fk_files=1464475 Gardiner, A. H., Egyptian Grammar: Being an Introduction to the Study of Hieroglyphs (Egyptology: Griffith Institute),1957Graf, R.F., Modern Dictionary of Electronics, Newnes, Seventh Edition, 1999Herodotus, The History of Herodotus, V в.пр.н.е. http://classics.mit.edu/Herodotus/history.htmlHoratii Flacci, Epistulae I XVI, Carmina II XVIIIHoward, N. The Book: The Life Story of a Technology, The Johns Hopkins University Press, 2005 p.60Palladii Rutilii Tauri Aemiliani, Opus agriculturae, 1898. http://www.archive.org/details/palladiirutilii00pallgoogPliny the Elder, The Natural History, http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Pliny_the_Elder/home.htmlPliny the Younger's letters I в, http://www.fordham.edu/halsall/ancient/pliny-letters.asp (villa Laurentinum: Part III Letters XXI- XXVI(Letter XXIII – To Gallus), Villa Tusci: Part VII Letter LII- To Domitius Apollinaris)Roche, J. J., The mathematics of measurement: a critical history, The Athlone. Press, 1998, p.33Weisberg, D. E., The Engineering Design Revolution, 2008, [e-book], http://www.cadhistory.net/, [Достъп 22 June 2011]

34

35

36