Architectural Working Drawings

The paper investigates the importance of citizen participation in urban local governance for the effective performance of a solid waste management system in a city. The cities are becoming ambitious to gain a top rank under Swachh Survekshan conducted every year under the Swachh Bharat Mission policies. Cities are ranked as per the parameters and percentage set by the central policies. Rankings of the cities differ every year either taking a huge leap of rank improvement or fall of rank due to certain aspects. About Mangalore, they adjudged the city with the best Solid Waste Management System, 2018 with the improvement of rank by 11 positions from the 63rd rank in 2017 to 52nd rank in 2018. The paper intends to study how the performance of ULBs and citizen participation is affecting the rankings and management of the waste in the city since they are the major parameters that decide the city’s ranking under Swachh Survekshan every year by adopting the framework of Quadrant Distribution of Importance-Performance analysis. A comparative analysis of SWM between New Mangalore and Old Mangalore is conducted to analyze the differences in ULBs performance and citizen awareness regarding SWM in the city. The paper concludes with the change in existing awareness programs and policies by acquainting decentralization process with instructed the areas about tidiness in the city and formalizing the rag pickers who belong to the informal sector in India. Thus, bringing about the change of Mangalore's rank for upcoming Swachh Survekshan in 2019.

RÉSUMÉ Des tracés incisés ont été identifiés en 2014 et 2015 sur les murs du théâtre de Milet. Ces profils et élévations d’éléments architecturaux des phases impériales de l’édifice s’inscrivent dans un corpus qui compte aujourd’hui plus de cent trente épures et nous éclaire sur le dessin d’architecture et son usage sur les chantiers de construction dans l’Antiquité. À la lumière de ce corpus, on peut interpréter quelques épures de Milet : un ensemble de dessins dans l’hyposkènion, comprenant les moulures de base et de couronnement du piédestal formant la tête du parapet de la cavea impériale (ΙΙe s. apr. J.-C.) et une étude de fronton pour la première scaenae frons (Ιer s. apr. J.-C.) ainsi qu’une représentation d’arcs de l’analemma Ouest (ΙΙe s. apr. J.-C.) dans la partie basse de ce mur. Sont enfin présentés un inédit d’Ostroucha et une interprétation de deux dessins d’Aphrodisias jusqu'alors inexpliqués.


ΠΕΡΙΛΗΨΗ Τα σχέδια του θεάτρου της Μιλήτου: πρακτικές αρχαίων εργοταξίων


Το 2014 και το 2015 ανακαλύφθηκαν χαράγματα στους τοίχους του θεάτρου της Μιλήτου. Πρόκειται για προφίλ και όψεις αρχιτεκτονικών στοιχείων των αυτοκρατορικών φάσεων του κτηρίου, τα οποία ανήκουν σε ένα σύνολο που αριθμεί σήμερα πάνω από εκατόν τριάντα σχέδια και μας διαφωτίζει για το αρχιτεκτονικό σχέδιο και τη χρήση του στα εργοτάξια στην αρχαιότητα. Με βάση αυτό το σύνολο, μπορούμε να ερμηνεύσουμε μερικά σχέδια της Μιλήτου: ένα σύνολο σχεδίων στο υποσκήνιο, που περιλαμβάνει τα κυμάτια της βάσης και της επίστεψης του βάθρου που αποτελούσε την κεφαλή του στηθαίου του κοίλου της αυτοκρατορικής εποχής (2ος αι. μ.Χ.) και μια μελέτη του αετώματος για την πρώτη scaenae frons (1ος αι. μ.Χ.) καθώς και μια αναπαράσταση των τόξων του δυτικού αναλήμματος (2ος αι. μ.Χ.) στο κάτω τμήμα του τοίχου αυτού. Παρουσιάζονται τέλος ένα ανέκδοτο σχέδιο της Οστρούτσα και μια ερμηνεία δύο σχεδίων της Αφροδισιάδος, που έχουν μείνει ως τώρα ανεξήγητα.


SUMMARY The sketches of the Theater of Miletus: practices of ancient construction sites


Incised traces were identified in 2014 and 2015 on the walls of the Theater of Miletus. These profiles and elevations of architectural elements dating to the imperial phases of the building are part of a corpus that today numbers more than one hundred and thirty drawings, enlightening us regarding architectural design and its use on the construction sites of antiquity. Based on this corpus, we can interpret some of the drawings of Miletus: an assemblage of drawings in the hyposkenion, which include the base and crown moldings of the pedestal forming the head of the parapet of the koilon of the imperial period (2nd century AD) and a study of the pediment for the first scaenae frons (1st century AD) as well as a representation of arches of the western retaining wall (analemma) (2nd century AD) in the lower part of this wall. Finally, an unpublished drawing from Ostrousha and an interpretation of two previously unexplained drawings from Aphrodisias are presented.

Resumen
La presente comunicación relata la elaboración y redacción del proyecto docente para la asignatura Dibujo 1. Geometría y percepción, que se imparte, desde el curso académico 2010/2011, en el primer cuatrimestre de primer curso en la Escuela Técnica Superior de Arquitectura de Sevilla. Partiendo de los condicionantes iniciales exigidos por el Nuevo Plan de Estudios para la nueva asignatura, se expone cómo se han unificado en el seno de un único desarrollo docente parte de los aprendizajes y de la docencia presentes en las antiguas Geometría Descriptiva y Análisis Gráfico Arquitectónico, persiguiendo como objetivo final que la docencia de D 1 sea entendida de una manera unitaria por los alumnos. Para terminar el texto, en su parte final, se exponen las conclusiones extraídas de la docencia impartida a lo largo de seis cursos académicos consecutivos-2010/2011 a 2015/2016-por el equipo docente formado por las autoras de este texto, conforme al proyecto docente, que bajo el nombre genérico de: " El viaje hacia la arquitectura " se elaboró para las asignaturas: D1. Geometría y percepción, D2. Expresión y comunicación, D3. Análisis Gráfico y D4. Ideación y configuración, particularizado para D1 en El viaje hacia la arquitectura I: Drawing as a motive force of architecture.
Palabras clave: Dibujo arquitectónico, Geometría y percepción.

A detailed study of the language of linear representation within the practice of architectural design.

The work offers a detailed analysis of the ideological and physical basis of line through the study of a small selection of drawings by the architects, Hans Schmidt and Paul Artaria, Walter Gropius, Max Bill and Riegler and Riewe.

This work was reviewed by Prof. Richard Stamp (Bath Spa University College), in the Journal of Visual Culture in 2003, in which the following was noted:

“What convinces in Shrigley’s argument is the simple and vital observation that the line has little or no connection to the materiality of the ‘object’ it denotes or projects.”

“Both Nietsche and Shrigley articulate the desire for a practice exempted from the need for truth. But just as the Nietsche of 1873 had yet to formulate a philosophical position that could both bypass and account for ‘the will to truth’, so the final lines of Insignificance merely open onto this desire - the visionary gesture can only imagine for itself an escape route from the contradictions of representation, it cannot yet think it.”

Does the physical act of marking, how a hand variously pushes, pulls and presses a utensil, cause one to think, by this practice of inscription, that I freeze a moment? That such layering of drawing acts, inscribing, re-inscribing, erasing, collaging, parenthetic insertion and the disparate parallelisms that constitute the modes of graphitto-production, allows the inscribing subject to entertain the thought, that by each stroke of their pen, as a line is infinitely extended, that they are able to capture, to fix, an ever-flowing field of delimitation [what it is to be conscious of drifting in the world], simply by dint of a coarse inscription?

Gordon Shrigley, 2011
[Excerpt]

Un contrat d’échange de terrains, en partie bâtis, dans le quartier neuf de la place Vendôme, entre les héritiers d’Antoine Crozat et le financier François Castanier, en 1741, comprend en annexe un marché par lequel le second s’engageait, en dédommagement, à faire construire pour les premiers, à ses frais, une nouvelle basse-cour, dont les dessins, eux aussi joints à l’acte, avaient été donnés par Pierre Contant d’Ivry.

Présentation à l'occasion d'une séance du séminaire d'histoire de la construction organisée par le Laboratoire de Médiévistique Occidentale de Paris (Paris 1),  le Centre de théorie et analyse du droit (Nanterre), le  Laboratoire Archéologie et Philologie d’Orient et d’Occident (ENS-CNRS-EPHE) sur la thématique des traces et tracés de chantier, le 4 décembre 2017 à PSL.

Raising the persistence question about architectural entities consists in asking what is necessary and sufficient for a past or future architectural entity, like a building, to exist now. In this paper I investigate how the persistence question about buildings is affected by their spatial relocation. Why do we normally doubt that Notre Dame can survive its meticulous stone-by-stone transfer to Las Vegas? I argue that, since architectural plans are not capable of specifying all the constitutive properties of a building, the source of differentiation among constitutive and non-constitutive properties for buildings lies in a property’s being eligible or not eligible to be aesthetically relevant in the aesthetic judgements about them. As a matter of fact, our aesthetic judgements about buildings often concern, and are grounded on, extrinsic contextual properties. This explains why buildings can usually not survive relocation: because normally there is no basis for ruling out any extrinsic contextual feature of the building as inessential. I also try to explain why the change from thirteenth century Paris to contemporary Paris proved not to be lethal to Notre Dame’s persistence, in spite of its being more significant than other imaginary context changes that we would easily count as fatal.