ObjectiveExpanding the coverage of territorial spatial planning to the whole territory and all elements provides an opportunity for the protection and development of historical heritage. The evolution of the cultural landscape of urban historical parks, an urban cultural heritage and an important territorial space, is a medium for the transformation, continuation and reconstruction of the modern city. Under the value orientation of the heritage protection system, strengthening the spatial connection and temporal order among heritage resources can cope with the dilemma of spatial homogenization and fragmentation of the cultural landscape.MethodsThis research takes Xiamen Zhongshan Park (the “Park”) as an example for the interpretation and value assessment of the historical layering process. It constructs a cultural landscape heritage layering model of Xiamen Zhongshan Park by combining ancient literature and the spatial interpretation of ancient maps, and employing the historic urban landscape (HUL) method. By systematically analyzing the characters of the cultural landscape, the distribution patterns of the kernel density of cultural landscape, the layering pattern, and the dynamic superposition of cultural connotations in different periods, the research analyzes the dynamics of the layering evolution of the Park’s cultural landscape. Through expert scoring, the historical importance and cultural influence, artistic aesthetics, social leadership, development potential, and heritage survival status of the cultural landscape heritage of Xiamen Zhongshan Park are assessed, and the value attributes (mainly ontological and reuse values) of such cultural landscape heritage are interpreted by constructing an assessment system.ResultsThis research shows that the layering evolution of cultural landscape in Xiamen Zhongshan Park went through five periods. The initial construction in the germination period formed a preliminary cultural landscape layering space of memorial, natural and landscape scenery sources, as well as special gardens, with cultural scenery sources distributed in a concentrated pattern across the northern, central, and southern areas of the Park. During the destruction period, the development of Xiamen Zhongshan Park stagnated due to the strong force of political power. During the recovery period, the purpose of park construction was to restore the original appearance and maintain the original functions on the basis of adding public facilities of commemorative significance, in an attempt to enhance the Park’s landscape and educational nature. During the recession period, with only some natural and landscape scenery sources remaining, showing a layering state of accumulation in the north and disappearance in the south. During the revival period, the memorial scenery sources, scenic buildings, and special gardens showed a uniform distribution of layering. The spatial functions of cultural landscapes are diversified, forming a multi-integrated cultural landscape layering state.By combing the characters of cultural landscape and the kernel density of cultural landscape distribution in different periods of the Park, the cultural landscape information of multiple periods is superimposed to generate a layering slicing map and a cultural connotation evolution map of the map. According to the results of the layering interpretation, five layering modes of recession, augmentation, juxtaposition, coverage, and regeneration of Xiamen Zhongshan Park are refined, and multiple layering modes are superimposed on each other in the continuous and dynamic evolution of the Park from the modern era to the present day. By retracing the evolution of the Park’s cultural landscape, the driving factors affecting the layering evolution of the Park’s cultural landscape are extracted. The location environment determines the Park’s landscape architecture, forming the initial state of the cultural landscape layering, the public’s demand influences the creation of space in the Park with the change of the times and thus affects the layering evolution, and the urban construction and social politics play a strong role in the layering of cultural landscape through relevant historical, economic, and political elements. In addition, the historical importance, cultural influence, artistic aesthetics, social leadership, and development potential of the Park’s scenic spots are significantly higher than their heritage survival status, which is related to the transformation of the elements in the cultural landscape layering model of Xiamen Zhongshan Park. In view of this, it is necessary to link the natural and cultural heritage resources in the Park, establish a systematic framework for interpreting the value of heritage, and revitalize the styles and features of historical landscapes.ConclusionThis research examines Xiamen Zhongshan Park as a living cultural landscape heritage, and explores the processes, patterns, and mechanisms of cultural landscape heritage superposition across different periods from a dynamic evolutionary perspective. By taking a holistic view of the Park’s heritage value and evolution, this research aims to establish an assessment system for assessing the values and identifying its defining characteristics of the Park’s cultural landscape heritage. The findings seek to inform strategies for the scientific management, comprehensive protection, and sustainable development of urban historical parks. Xiamen Zhongshan Park is not only a historical cultural artifact but also a symbol of urban heritage and modern identity. Analyzing the mechanisms of cultural landscape characterization and value assessment from the perspective of temporal accumulation offers a comprehensive approach to preserving value continuity and supporting the organic renewal of this historic park, bridging territorial spatial planning with heritage preservation.
Aesthetics of cities. City planning and beautifying, Architectural drawing and design
The aim of the paper is to deal with the question of the form of Catholic places of worship in the current secularization process phase, and with special reference to the Italian case and once assumed a sociological perspective. First of all, the relevance of the artifacts for the sociological understanding of secularization will be highlighted. The next step will be dedicated to the reciprocal and very important relationships between the form of the place of worship and the type of social order. These relationships will be illustrated by focusing on the relationship between the religious dimension of Catholicism and some different variants of secularization. Having elaborated on this basis a typology of forms of the religious dimension of Catholicism, it will show and discuss how the solution of some architectural questions can influence the success or the demise of one or an other among different forms that the religious dimension of Catholicism can assume copying with the secularization process current phase.
Architectural drawing and design, Aesthetics of cities. City planning and beautifying
“Could it be that theory in and of architecture could take up residence in territories that are perforce ill-defined and indeterminate?” David Leatherbarrow, “Foreword,” in The Contested Territory of Architectural Theory, edited by Elie G. Haddad (Routledge, 2023), xxii. This essay charts the implementation of an affective drawing practice, with the aim of registering and gaining greater insight into the premise that a dialogue, or ‘correspondence’, exists between building and occupant. Working within the domains of intuition, unknowing and affect these works employ analogue and digital strategies – drawings-on-glass, writing, scanning, projecting, and filmic sketches – to determine the ineffable, abstract qualities and traces of previous occupancies that could be crucial to the locus of a specific place. Through these studies, we begin to re-witness echoes of actions and habitual patterns of movement around and through a former joinery workshop. The act of casually cleaning a paintbrush is revealed by paint on the timber-lapped walls, a gentle curve deeply worn into a stone threshold sculpted over time shows where so many feet have passed. The transient daylight, and the enfolding darkness of night, are subtlety registered and find potential in the abstract marks of architectural representations. Speculative enquiries begin to unfold, and in so doing they reveal unchartered territories and unforeseen possibilities, proposing new perceptions of being and meaning within this utilitarian and modest space. Read the full article online at: https://drawingon.org/Issue-04-01-Affective-Drawing
This study investigates the relationship between architectural heritage in the Kingdom of Saudi Arabia and the United States, providing insights for place-based learning (PBL). The researcher analyzes the similarities and differences between New Mexico (NM) and Saudi Arabia, such as materials, color, and motif units, to design and apply them to develop a range of modern designs. The study method used is an experiential approach based on a case study, based on the author’s living experience in NM from 2014 to 2018, visiting museums and heritage areas, taking photographs, and tasting the culture. Moreover, this study includes a literature review for PBL. In addition, the research study uses a descriptive and experimental method and practical procedure by designing, borrowing, and analyzing the inspiration of specific traditions and integrating both cultures into artworks and ornaments in weaving beads and textiles. The result of the study applied six innovative designs by creating art projects through experimental learning. The result presented three themes: (1) similarities in instructions, materials, and colors of the architectural heritage between the Santa Fe and Saudi Najd styles, (2) differences between the architectural heritage doors, windows, and roof system, and (3) drawing inspiration from architectural heritage for textile bead weaving designs.
AbstractThe surface of an architectural drawing can be a cauldron of creativity, a place where even gravity and friction might not exist. Russian‐born and based in Paris, architecturally trained artist Kirill Chelushkin creates astounding, often large‐scale works that explore the ontology of drawing. Here he describes the inspirations for his machine‐related architectural representations, including Russian Constructivism and historical, battered and burnt blueprint drawings of the rapidly disappearing machines of the Soviet industrial complex.
Ülkemiz tarihsel süreç içerisinde birçok afet ile karşı karşıya kalmıştır. İnsanlar afet sonrası yaşadığı korku ve şoku atlatabilecekleri, temel ihtiyaçlarını karşılayabileceği, iletişim imkânı sunan, herkes için ulaşılabilir olan ve yeterli kapasiteye sahip, iyi tasarlanmış afet sonrası toplanma alanlarına ihtiyaç olduğu bir gerçektir. Dolayısıyla çalışmanın amacı, Malatya kentsel çekirdek sınırlar içerisinde bulunan afet sonrası toplanma alanlarını, literatür taraması sonucunda elde edilen kriterler eşliğinde değerlendirilerek, yeterliliklerin ortaya konulmasıdır. Bu amaç doğrultusunda çalışmada öncelikle ulusal ve uluslararası literatür taraması yapılarak afet sonrası toplanma alanları değerlendirebilmek için kriterler belirlenmiştir. Bu kriterler arasından, uzaklık ve erişilebilirlik ile ana yol bağlantılı lığını belirleye bilmek için mekân dizim yönteminden yararlanılmıştır. Kapasite hesabı ise toplanma alanının yüzölçümünün kişi başına düşmesi gereken 2,5 m² ye bölünmesi ile elde edilmiştir. Çalışmanın sonucunda, kentsel çekirdek sınırları içerisinde bulunan 10 afet sonrası toplanma alanı içerisinde sadece Abdullah Gül Parkının kriterleri karşıladığı, geri kalan toplanma alanlarının ise kriterleri karşılamadığı belirlenmiştir.
In this paper, we introduce the following new concept in graph drawing. Our task is to find a small collection of drawings such that they all together satisfy some property that is useful for graph visualization. We propose investigating a property where each edge is not crossed in at least one drawing in the collection. We call such collection uncrossed. This property is motivated by a quintessential problem of the crossing number, where one asks for a drawing where the number of edge crossings is minimum. Indeed, if we are allowed to visualize only one drawing, then the one which minimizes the number of crossings is probably the neatest for the first orientation. However, a collection of drawings where each highlights a different aspect of a graph without any crossings could shed even more light on the graph's structure. We propose two definitions. First, the uncrossed number, minimizes the number of graph drawings in a collection, satisfying the uncrossed property. Second, the uncrossed crossing number, minimizes the total number of crossings in the collection that satisfy the uncrossed property. For both definitions, we establish initial results. We prove that the uncrossed crossing number is NP-hard, but there is an FPT algorithm parameterized by the solution size.
Carla Binucci, Henry Förster, Julia Katheder
et al.
Partial edge drawings (PED) of graphs avoid edge crossings by subdividing each edge into three parts and representing only its stubs, i.e., the parts incident to the end-nodes. The morphing edge drawing model (MED) extends the PED drawing style by animations that smoothly morph each edge between its representation as stubs and the one as a fully drawn segment while avoiding new crossings. Participants of a previous study on MED (Misue and Akasaka, GD19) reported eye straining caused by the animation. We conducted a user study to evaluate how this effect is influenced by varying animation speed and animation dynamic by considering an easing technique that is commonly used in web design. Our results provide indications that the easing technique may help users in executing topology-based tasks accurately. The participants also expressed appreciation for the easing and a preference for a slow animation speed.
Our goal is to visualize an additional data dimension of a tree with multifaceted data through superimposition on vertical strips, which we call columns. Specifically, we extend upward drawings of unordered rooted trees where vertices have assigned heights by mapping each vertex to a column. Under an orthogonal drawing style and with every subtree within a column drawn planar, we consider different natural variants concerning the arrangement of subtrees within a column. We show that minimizing the number of crossings in such a drawing can be achieved in fixed-parameter tractable (FPT) time in the maximum vertex degree $Δ$ for the most restrictive variant, while becoming NP-hard (even to approximate) already for a slightly relaxed variant. However, we provide an FPT algorithm in the number of crossings plus $Δ$, and an FPT-approximation algorithm in $Δ$ via a reduction to feedback arc set.
Morphing edge drawing (MED), a graph drawing technique, is a dynamic extension of partial edge drawing (PED), where partially drawn edges (stubs) are repeatedly stretched and shrunk by morphing. Previous experimental evaluations have shown that the reading time with MED may be shorter than that with PED. The morphing scheduling method limits visual clutter by avoiding crossings between stubs. However, as the number of intersections increases, the overall morphing cycle tends to lengthen in this method, which is likely to have a negative effect on the reading time. In this paper, improved scheduling methods are presented to address this issue. The first method shortens the duration of a single cycle by overlapping a part of the current cycle with the succeeding one. The second method duplicates every morph by the allowable number of times in one cycle. The third method permits a specific number of simultaneous crossings per edge. The effective performances of these methods are demonstrated through experimental evaluations.
Alfredo García, Javier Tejel, Birgit Vogtenhuber
et al.
Simple drawings are drawings of graphs in the plane or on the sphere such that vertices are distinct points, edges are Jordan arcs connecting their endpoints, and edges intersect at most once (either in a proper crossing or in a shared endpoint). Simple drawings are generalized twisted if there is a point $O$ such that every ray emanating from $O$ crosses every edge of the drawing at most once and there is a ray emanating from $O$ which crosses every edge exactly once. We show that all generalized twisted drawings of $K_n$ contain exactly $2n-4$ empty triangles, by this making a substantial step towards proving the conjecture that this is the case for every simple drawing of $K_n$.
Let $Γ$ be a straight-line drawing of a graph and let $u$ and $v$ be two vertices of $Γ$. The Gabriel disk of $u,v$ is the disk having $u$ and $v$ as antipodal points. A pair $\langle Γ_0,Γ_1 \rangle$ of vertex-disjoint straight-line drawings form a mutual witness Gabriel drawing when, for $i=0,1$, any two vertices $u$ and $v$ of $Γ_i$ are adjacent if and only if their Gabriel disk does not contain any vertex of $Γ_{1-i}$. We characterize the pairs $\langle G_0,G_1 \rangle $ of complete bipartite graphs that admit a mutual witness Gabriel drawing. The characterization leads to a linear time testing algorithm. We also show that when at least one of the graphs in the pair $\langle G_0, G_1 \rangle $ is complete $k$-partite with $k>2$ and all partition sets in the two graphs have size greater than one, the pair does not admit a mutual witness Gabriel drawing.
Bo Allesøe Christensen, Peter Vistisen, Thessa Jensen
This paper provides an argument against understanding risk-taking in design education as something ideally in need of only being calculable and formalisable. Using the German sociologist Ulrich Beck’s theory on risktaking combined with the current discourse on design thinking, together with an analysis of a three week-long interdisciplinary design workshop, we analyse and discuss how risk-taking - as a general concept - in design education is an inherent element of the education itself. We argue, however, non-calculable risks, like human-centred design concerns, like desirability of use, ethics of technology, are an equally important part of a modern-day educational skillset as calculable risks. The aim is arguing for the prospect of interdisciplinary design-based education models as one way of embracing the non-calculable elements of a problem space.
Carla Binucci, Emilio Di Giacomo, Giuseppe Liotta
et al.
This paper studies the problem of computing quasi-upward planar drawings of bimodal plane digraphs with minimum curve complexity, i.e., drawings such that the maximum number of bends per edge is minimized. We prove that every bimodal plane digraph admits a quasi-upward planar drawing with curve complexity two, which is worst-case optimal. We also show that the problem of minimizing the curve complexity in a quasi-upward planar drawing can be modeled as a min-cost flow problem on a unit-capacity planar flow network. This gives rise to an $\tilde{O}(m^\frac{4}{3})$-time algorithm that computes a quasi-upward planar drawing with minimum curve complexity; in addition, the drawing has the minimum number of bends when no edge can be bent more than twice. For a contrast, we show bimodal planar digraphs whose bend-minimum quasi-upward planar drawings require linear curve complexity even in the variable embedding setting.
First of all, I will illustrate in this article that some typical occupational modalities of drawing by abductive processes involving the design of ecologies through chance and discovery (for example through radical innovations) in architecture. Abductive processes, formulated from the American philosopher Charles Sanders Peirce, start with an observation or set of observations and then seeks to find the simplest and the most likely conclusion from the observations. To design an ecology is to design a system of parts from things in a new kind of contextualism, like a tree, and to design a symbiotic relational object, like a light reflector, to reflect the light to focus on the growth of the tree. This may not seem radical nor innovative but the principle of symbiotically designing an ecology for a range of scaled interventions overtime on the same context does start to get interesting. From drawing and sketching what you can see in the actual context for a design proposal, to then redrawing and compose the observational drawing in a studio, to the time taken to experience and reflect on the spaces drawn towards making physical objects from the forms resonating as the drawing develops, there are many modalities to occupy a drawing as architecture. These modalities could be viewed as a form of ‘possible worlds’ (Murray, 2019) anticipations, a way of getting chances to shape the drawing world and act in it. It could be of help to prefigure risks, possibilities and effects of the architect as the editor of situations in the architectural drawing, and to promote or prevent broad rules of translation. Creating ethics means creating the world and act in it, in different (real or abstract) situations and problems. In this way events and situations can be reinvented either as an opportunity or a risk for new directions. The second part of the article describes some of the ‘twenty-six rules for translation’ through the drawing related to the design of ecologies through chance and discovery.
Helen C. Purchase, Daniel Archambault, Stephen Kobourov
et al.
Do algorithms for drawing graphs pass the Turing Test? That is, are their outputs indistinguishable from graphs drawn by humans? We address this question through a human-centred experiment, focusing on `small' graphs, of a size for which it would be reasonable for someone to choose to draw the graph manually. Overall, we find that hand-drawn layouts can be distinguished from those generated by graph drawing algorithms, although this is not always the case for graphs drawn by force-directed or multi-dimensional scaling algorithms, making these good candidates for Turing Test success. We show that, in general, hand-drawn graphs are judged to be of higher quality than automatically generated ones, although this result varies with graph size and algorithm.
We show how to test in linear time whether an outerplanar graph admits a planar rectilinear drawing, both if the graph has a prescribed plane embedding that the drawing has to respect and if it does not. Our algorithm returns a planar rectilinear drawing if the graph admits one.
Oswin Aichholzer, Michael Hoffmann, Johannes Obenaus
et al.
Károlyi, Pach, and Tóth proved that every 2-edge-colored straight-line drawing of the complete graph contains a monochromatic plane spanning tree. It is open if this statement generalizes to other classes of drawings, specifically, to simple drawings of the complete graph. These are drawings where edges are represented by Jordan arcs, any two of which intersect at most once. We present two partial results towards such a generalization. First, we show that the statement holds for cylindrical simple drawings. (In a cylindrical drawing, all vertices are placed on two concentric circles and no edge crosses either circle.) Second, we introduce a relaxation of the problem in which the graph is $k$-edge-colored, and the target structure must be hypochromatic, that is, avoid (at least) one color class. In this setting, we show that every $\lceil (n+5)/6\rceil$-edge-colored monotone simple drawing of $K_n$ contains a hypochromatic plane spanning tree. (In a monotone drawing, every edge is represented as an $x$-monotone curve.)
We publish the photos by Maddalena Migliore to present a beautiful design story, the "Street Games" project, carried out in the Librino neighbourhood on the outskirts of Catania. The project is the result of a workshop organized by the ABADIR Arts and Design Academy (Catania), coordinated by designer Giorgio Laboratore, in connection with the “Good Actions for Librino”. This latter is a project by G124, the Renzo Piano's work group, in 2015 .
Drawing. Design. Illustration, Architectural drawing and design
Philipp Kindermann, Tamara Mchedlidze, Thomas Schneck
et al.
The visual complexity of a graph drawing can be measured by the number of geometric objects used for the representation of its elements. In this paper, we study planar graph drawings where edges are represented by few segments. In such a drawing, one segment may represent multiple edges forming a path. Drawings of planar graphs with few segments were intensively studied in the past years. However, the area requirements were only considered for limited subclasses of planar graphs. In this paper, we show that trees have drawings with $3n/4-1$ segments and $n^2$ area, improving the previous result of $O(n^{3.58})$. We also show that 3-connected planar graphs and biconnected outerplanar graphs have a drawing with $8n/3-O(1)$ and $3n/2-O(1)$ segments, respectively, and $O(n^3)$ area.