[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-657856-en":3,"doc-seo-657856-105":31,"detail-sidebar-cat-0-en-105":96},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":28,"seo_description":14,"update_tm":29,"read_time":30},657856,1374391975076,"Riley","https://ap-avatar.wpscdn.com/avatar/14000253ca4ec9f6853?x-image-process=image/resize,m_fixed,w_180,h_180&k=1783305029341752051",2,"Literature","transcrição - Dummy Text, or The Diagrammatic Basis of Contemporary Architecture","“Dummy Text, or The Diagrammatic Basis of Contemporary Architecture” discusses how architectural knowledge has shifted from drawing to diagramming during the latter half of the twentieth century. It emphasizes diagrams as a central tool for architectural production and discourse, reflecting on their near-universal use and the confusion created by simultaneous promotion and denigration. The text links debates around form, program, and representation, tracing diagram discourse to influential predecessors and the emergence of information architects after 1960.","transcrição  \nDummy Text, or The Diagrammatic Basis of Contemporary Architecture  \nRobert E. Somol  \nArquiteto, professor de Teoria e Projeto na University of California, Los Angeles (UCLA), [somol.1@osu.edu](somol.1@osu.edu)  \nPeter Eisenman has often remarked that thesis of 1963, “The Formal Basis of  \nhis Ph. D Modern  \n1. Christopher Alexander, Notes on the Synthesis of Form (Cambridge: Harvard University Press, 1964) . For more on the “debate” between Eisenman and Alexander, see“Contrasting Concepts of Harmony in Architecture,”Lotus International 40 (1983) .  \n2. Reyner Banham,”A Black Box,” in A Critic Writes (Berkeley: University of California Press, 1996), p. 298.  \n3. Colin Rowe, “Program versus Paradigm: Otherwise Casual Notes on the Pragmatic, the Typical, and the Possible,” in As I Was Saying, vol. 2 (Cambridge: MIT Press, 1996), p. 10.  \nArchitecture,” was a critical response to Christopher Alexander’s earlier Cambridge dissertation, which would be published as Notes on the Synthesis of Form 1 .While the architectural agendas announced by these projects could not be more dissimilar determining the “fitness of form” as a problem of set theory versus releasing the potential for forms to notate the forces of their emergence- it should not be overlooked that the techniques of diagramming are central to each. In fact, Alexander begins the 1971 preface to Notes by baldly stating that the most significant contribution of his book is “the idea of the diagrams.” In some ways, the present collection, Diagram Diaries, advances a related assertion, a post-facto preface to an unpublished dissertation, though one that now addresses (and is demonstrated by) a career-long body of intervening work.  \nIn general, the fundamental technique and procedure of architectural knowledge has seemingly shifted, over the second half of the twentieth century, from the drawing to the diagram. This is not to suggest that a diagram of one form or another was not always constitutive of architecture at various points in its history, but simply that it has only been in the last thirty years or so that the diagram has become fully “actualized,” that it has become almost completely the matter of architecture. Proceeding with halting steps through serial obsessions with form, language, and representation- though, as will be seen, equally with program, force, and performance-the diagram has seemingly emerged as the final tool, in both its millennialand desperate guises, for architectural production and discourse. Relatively impervious to the specific  \nideology being promoted, the diagram has instigated a range of contemporary practices. Just as Robert Venturi summarized the effect of his 1950 M.A. thesis as “one great diagram,” Lawrence Halprin published a book of diagrams in 1970 -which he referred to as “scores” -intended to form the foundation of a renewed design discipline. Significantly, even Klaus Herdeg’s critique of the Bauhaus-inspired diagram of pedagogy and design atthe Harvard Graduate School of Design proceeded simply through an alternative form of diagrammatic analysis.  \nIt should not be surprising that the discourse of the diagram at this moment has become so confused given its near-universal use and abuse, its simultaneous promotion and denigration. This was less true with the previous trait of disciplinary identity, the act of drawing (disegno), which, as Reyner Banham writes, “had such a crucial value for architects that being unable to think without drawing became the true mark of one fully socialized into the profession of architecture.”2 With the increasing inability after the war to link convincingly the formal and functional ambitions of modernism, the first appearances of the diagram solidity around two possible axes, which Colin Rowe would later identify as “paradigm”(the embrace of a priori ideals) and “program”(the empirical solicitation of facts) . While Rowe significantly notes that both positions “condemn us to no more th","cbCaifIZvEmBae7t","https://ap.wps.com/l/cbCaifIZvEmBae7t","pdf",83120,3,1,11,"English","en",105,"# Diagramming as Architectural Knowledge\n## Shift from Drawing to Diagram\n## Diagrams, Representation, and Practice\n## Paradigm, Program, and Repetition","[{\"question\":\"What central idea does the text highlight about diagrams in architecture?\",\"answer\":\"It argues that diagramming has become the key tool for architectural production and discourse, with diagrams even framed as a major contribution to architectural thinking.\"},{\"question\":\"How does the document describe the shift in architectural techniques over the twentieth century?\",\"answer\":\"It describes a movement from drawing to diagram, suggesting that only in the last decades the diagram became fully “actualized” as the dominant matter of architecture.\"},{\"question\":\"How are “paradigm” and “program” used in the text?\",\"answer\":\"They are presented as two axes for disciplinary identity in architecture: paradigm as embracing a priori ideals, and program as the empirical solicitation of facts.\"}]","transcrição - 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