Applied Art

Gerega L.I. Attribution of a Wooden Carving Piece without Original Historical Data

The article focuses on the attribution of the piece without initial historical data, which was restored. The research object is a carved gilded frame from a private collection. The main methods for solving the problem are searching for stylistic analogues with the identification of characteristic features of the construction of structure and decor, as well as physical and chemical studies of the composition of pigments and gilding techniques. As a result of the work, the layers of gilded decor and the paint layer of the frame ornament were revealed and studied, and the presumable timeframe of the piece creation was determined.

The author attempts to recreate the geography of  kilim and carpet production in Ukraine during the XVII th and XVIII th centuries. On the basis of historical documents the author aims to differentiate the actual workshops from those which are questioned or fictional, but were mentioned in modern bibliography. Of particular note among the leading Ukrainian  kilim  and  carpet  production  centres  which  functioned  during  XVII th  and XVIII th centuries, are the workshops of: Murat Jakubovych in Zamost’ (now found in Poland), the Koniecpolski family in Brody (Lviv region), Hetman Pavlo Polubotok in Mykhajlivka (Lebedyn district of Sumy region), the Bukhari family in Ivanopil (Chudniv district of  Zhytomyr  region),  and  Hetman  Kyrylo  Rozumovskyj  in Baturyn  (Bahmach district of Chernihiv region). The article also includes wide bibliographic references on Ukrainian kilims and carpets

Following the decline of tapestry weaving in the 19th century, the 20th century saw a revival of textile art, the emergence of new three-dimensional forms — art objects, installations and soft sculpture — and the coinage of the term fiber art. Starting in the second half of the 20th century, large-scale textile exhibitions, including the famous Lausanne Biennale, have been held in different countries around the world. After the Lausanne Biennale project was stopped in 1995, the rights to hold it were purchased by China. Currently, the Biennale is called “From Lausanne to Beijing” and is held in different Chinese cities. From 2000 to 2020, eleven exhibitions were held within the framework of the “From Lausanne to Beijing” Biennale. In 2020 the Biennale was held in an online format for the first time. Ecology remains one of the most popular topics of modern fiber art.
После упадка шпалерного ткачества в XIX в. ХХ в. стал временем возрождения текстильного искусства, появления новых объемно-пространственных форм-арт-объектов, инсталляций, «мягкой скульптуры» и возникновения термина «fiber art»-искусство волокна. Во второй половине ХХ в. в разных странах мира проходили масштабные текстильные выставки, в том числе знаменитые Лозаннские Биеннале. После того как в 1995 г. проект «Лозаннские Биеннале» прекратил свое существование, права на его проведение были выкуплены Китаем. В настоящее время Биеннале называется «Из Лозанны в Пекин» и проводится в разных китайских городах. С 2000 по 2020 г. в рамках проекта «Из Лозанны в Пекин» было проведено 11 выставок, в 2020 г. Биеннале впервые проходило в дистанционном формате. Одной из наиболее популярных тем современного «fiber art» является экология.

The article is devoted to the kintsugi technique, the Japanese art of repairing ceramics with lacquer and coloured, gold or silver patterns. The diversity, technical complexity and philosophical richness of this
phenomenon enable research into its various facets. The article seeks to expand the historical context of kintsugi, place this phenomenon into a social and cultural context, raise the question of attribution and introduce previously unpublished items from Russian museum collections to the academic community. According to most legends, kintsugi originated in the 15th–16th centuries, during the period of formation of the Japanese tea ceremony. Early repairs were made with lacquer without decorative patterns, while repairs with gold flourished in the 17th–18th centuries. However, dating of Japanese ceramics poses difficulty since identifying model objects with a reliably known restoration date can be challenging. In cases of missing shards or glaze, when significant damage was repaired by filling with decorative lacquer, or by using fragments of ceramics and porcelain in the yobitsugi technique, it is possible to date the restoration based on stylistic analysis and historical data about the localisation of certain decorative motifs and exported goods. Two items from the collections of the State Hermitage Museum and the State Oriental Museum allow to carry out such an analysis and reveal Middle Eastern influences on decor in the maki-e lacquer technique. In other cases, dating can be difficult. The re-emergence of the kintsugi tradition in the works of masters from the Momoyama Revival movement in the first half of the 20th century shows that resorting to age-old artistic practices can be associated with rethinking of national history and culture, which also provides grounds for recreating the history of objects and their conservation.
Аннотация Статья посвящена технике кинцуги-реставрации японской керамики лаковым клеем с цветным, золотым или серебряным декором. Многообразие, техническая сложность и философская содержательность позволяют исследовать его различные аспекты. Цель данной статьи-расширить исторический контекст кинцуги, рассмотреть это художественное явление в социокультурном контексте, поднять вопрос об атрибуции реставрированных вещей и ввести в научный оборот ранее не опубликованные предметы из собраний pоссийских музеев. Легенды относят появление этого вида реставрации преимущественно к XV-XVI вв., периоду формирования японской чайной церемонии. Ранняя реставрация производилась клеевым лаком без декора, а широкое распространение золотой реставрации относится к XVII-XVIII вв. Однако датировка японской керамики представляет большую сложность, крайне затруднено выделение эталонных предметов с достоверно установленным временем реставрации. В тех случаях, когда для реставрации значительных утрат черепка или глазури были применены техники заполнения утрат лаком или метод ёбинцуги, реставрацию можно датировать, основываясь на стилистическом анализе и исторических сведениях о распространении тех или иных мотивов и экспортных изделий. Два предмета из коллекций Государственного Эрмитажа и Государственного музея Востока дают возможность провести такой анализ и выявить ближневосточные влияния на декор в лаковой технике маки-э. В других случаях датировка может быть затруднена. Как показывает возвращение традиции кинцуги в первой половине ХХ в. в работах группы мастеров «Возрождение Момояма», возрождение старых художественных практик может быть связано с переосмыслением национальной истории и культуры, что также дает основания для воссоздания истории бытования и реставрации предмета. Реставрация кинцуги на японской керамике оставляет широкое поле для дальнейших исследований.

Arabic Calligraphy is one of the main artistic features which belong to the identity of the region. While the calligraphy crafts are widely spread recently in the Arab world markets, they belong still into the field of hand made craftsmanship.
The developing of mass production of Arabic Calligraphy design will enhance and support the revival of Islamic Art Identity. Only to a limited extend and certain applications the Calligraphy has been introduced to product design: in limited editions or as application on surfaces. Furthermore, the combination product form and letter form is very often limited to the adaptation of existing “calligraphic patterns”.
Many of the possible mass production technologies are not used, for financial obstacles or professional needed experiences. Additional to this, as the development process of the design goes from the designer to crafts technicians, the final product is often not alike the original design. For the aesthetics and value of Calligraphy the matching of original and copy need to be completely overlapping.
What are the concerns and preparations to guarantee a high quality final product similar to the original design?
This study wants to analyze the production techniques that allow designers to apply the Arabic Calligraphy in mass production that can be successfully marketed and still keep the taste and value of the original design. Additionally it is concerned about the materials in the local market, which provides economic prices of the final product, and using them on mass production technologies.

The scientific catalogue published at the occasion of Biedermeier exhibition organized by the Slovak national gallery in Bratislava in 2015. The book is focuse on fine and applied art from biedermeier period in Slovak museums and galleries.

Диссертация представляет собой первое исследование иконных окладов с фигуративными изображениями середины XVI – первого десятилетия XVII века, выполненных в кремлевских мастерских. В работе впервые суммируется и систематизируется весь существующий материал, который дополняется сведениями о несохранившихся украшенных иконах. Ранее эти памятники не были рассмотрены как единое художественное явление с присущими ему характерными особенностями. Выделяются композиционные и стилистические изменения, которые произошли в этом виде искусства с середины XVI века по начало XVII столетия. Некоторые из произведений впервые вводятся в научный оборот; в ряде случаев благодаря натурным исследованиям удалось уточнить атрибуцию памятников. Изучение стиля, иконографии, технико-технологических особенностей позволило внести коррективы в датировки. Проанализирована роль заказчиков в создании иконографических программ окладов, а также распространение патрональных изображений на различных частях драгоценного убора. Впервые памятники московского ювелирного искусства сопоставляются с произведениями европейского прикладного искусства по целому ряду параметров (орнаментика, типология, технология). На основании художественных и технологических особенностей прослеживается работа европейских и восточных ювелиров при царском дворе. Памятники, отличающиеся от произведений других стран православного мира драгоценностью материалов и сложностью исполнения, рассматриваются как особая линия поствизантийской традиции.

The analytical overview of the choroi, lighting devices with liturgical function, which have been in use from the middle of the 14th to the beginning of the 20th century on the territory of present day Republic of Macedonia, discusses fourteen examples manufactured in bronze and wood. Five of these works of applied art are authentically attributed with monograms or inscriptions. The period in which the other examples have been produced, has been hypothetically assigned according to their characteristics and historical context.

The purpose of the present article is to provide a picture of the translucent enamelled goldsmithery present in the Paduan territory and produced in a time span that includes most of the 14th and 15th centuries, thus involving the Paduan Gothic, Late Gothic and, partly, Renaissance goldsmithery. The analysed artifacts are goldsmith’s objects belonging to different categories, mainly of liturgical nature. This study touches upon many aspects of these artifacts, from the style of the illustrated plaques to their formal typologies and the complex variety of the translucent ornamentations. The research brings to light a continuity in the use of the technique until at least the end of the 15th century.

The aim of this paper is to present a complex relationship between applied arts and architectural design, made through the development of styles in the Serbian architecture of the second half of the 19th and the first half of the 20th century. It is based on previous conclusions and new perspectives arising from research of archival material and legacies of builders and applied artists, as well as present observations and conclusions. Observing the parallel development of architecture with the economic , political, social and cultural phenomena of the period, one can notice qualitative and quantitative rise of the applied arts, which in their various forms are a reflection of the time. The bond between applied arts and architecture had shown a significant role in shaping the styles of the Serbian architecture prevalently in Belgrade, largest Serbian city and the capital of The Principality of Serbia (1830–1882) and The
Kingdom of Serbia (1882–1918) and The Kingdom of Yugoslavia (1918–1945), as well as The Federal People’s Republic of Yugoslavia (1945–1963), through developing stylistic flows of Academicism, Secession, Art Deco, Modern and Socialistic realism, as well as many transient stylistic phenomena depending on local and foreign influences. Although it was not widely open to constructive experiments, the architecture of Serbia embraced the spirit of contemporary aestheticism adapting it to the local taste, expressing it with various sophisticatedly designed stylistic elements of applied arts. Stained glass, mosaic, wall painting, sculpture and relief, modern locksmith work, furniture and interior design, as well as the concept of facade composition in relation to the personal creative sensibilities of the author, taste and wishes of the clients, were given particular motifs and characteristics that determined the identity of the building in terms of style. Despite the importance of applied art and its significance for the development of the Serbian architecture of the noted period, insufficient knowledge of its opulent corpus, its authors and tendencies, conditioned by poorly preserved and rarely presented documentary material, puts to historiography the conclusion of the
need for more thorough research and of publication of the knowledge about applied art in Serbia. Pointing to this specific collaborative practice of applied arts with architectural design is an attempt to contribute to this aim.

The author of this article on the basis of the examinations of four carpets from the
collection of Museum of Local History (Krayoznavstva) in Poltava (no. ТК-3162, no. ТК-
3354), The Museum of Ukrainian Folk Art in Kyiv (no. КТ-77) and The National History
Museum of Ukraine in Kyiv (no. Т-6207) comes to the conclusion that they represent a
series of production of an unknown carpet workshop that was located on the territory of the
former Poltavan province (gubernia). The artistic and stylistic features of the ornamentation
of these carpets allow them to be dated to the second half of the 18th century.

Sreten Stojanović is a sculptor who made an exceptionally significant contribution to the development of 20th century Serbian art. Although his artistic opus has mostly been researched and evaluated in the context of historiography, one segment of Stojanović’s work has remained on the margins in reviews and assessments of his prolific activity. That is his sizable opus of facade plastics, created during
the inter-war period on public and private buildings in Belgrade and Novi Sad. In promoting the application of modern stylistic relief on facades and in interiors, Stojanović reflected the influence of Paris and the Art Deco style, which evolved in the French capital while he was studying there. In cooperating with the most renowned builders in Serbia of the inter-war period, Milan Zloković and Dragiša Brašovan, as well as with architects Milan Sekulić and Proka Bajić, Stojanović elevated the visual qualities of the architecture they were creating with the installation
of his reliefs, and contributed to the definition of the style of these buildings. The architectural achievements such as the Trade Chamber in Modena Street in Novi Sad, the Assicurazioni Generali palace in the Bulevar Kralja Aleksandra in Belgrade and the dual building containing the studio of Sreten Stojanović and Mladen Josić, are supreme works of mature Art Deco style in Serbian architecture. Besides the role they played in the development of Serbian architecture in the style of Art
Deco, the trends of thought in visual art expressed by the variability of the style of these reliefs, created over the period of five years, and their artistic value, justify the realisation that this segment of Stojanović’s work is one without which future reviews of this artist’s opus would not be complete.

The author of the article presents the results of her research of the antique Ukrainian
carpet from Museum of Ukrainian Decorative Folk Art in Kyiv (no.КТ-310). The design
of the carpet includes the date of its production – 1782. Special attention is played to the
iconography of the motives and to the features of the carpet’s design.

The article attempts to analyze and reconstruct the process of the creation of “the Mukhina school” of artistic ceramics, a unique cultural phenomenon known as the Leningrad ceramics. Materials for the article are drawn from memoirs, lectures and author’s notes, minutes of the Department of Art Ceramics and Glass of the Leningrad Higher School of Art and Design named after V.I. Mukhina, memoirs of former faculty and students of the department.
Аннотация В статье представлены анализ и реконструкция процесса создания «мухинской школы» художественной керамики как особого феномена культуры ХХ века-«ленинградская керамика». Материалы к статье почерпнуты из воспоминаний, конспектов и записей автора, из протоколов заседаний кафедры художественной керамики и стекла ЛВХПУ им. В.И. Мухиной, из воспоминаний бывших сотрудников и студентов кафедры. Ключевые слова: кафедра керамики и стекла, принципы, концепция, образовательные программы, композиция

Arabic Calligraphy is one of the main artistic features which belong to the identity of the region. While the calligraphy crafts are widely spread recently in the Arab world markets, they belong still into the field of handmade craftsmanship. The developing of mass production of Arabic Calligraphy design will enhance and support the revival of Islamic Art Identity. Only to a limited extend and certain applications the Calligraphy has been introduced to product design: in limited editions or as application on surfaces. Furthermore, the combination product form and letter form is very often limited to the adaptation of existing " calligraphic patterns ". Many of the possible mass production technologies are not used, because of financial obstacles or professional needed experiences. Additional to this, as the development process of the design goes from the designer to crafts technicians, the final product is often not alike the original design. For the aesthetics and value o...

An outstanding contemporary sculptor, painter and graphic artist, Lev Smorgon graduated from the Leningrad Higher School of Art and Design in 1952 and remained passionate about glass working until the early 80s. For a quarter century he experimented with glass casting and fusing, often combining these techniques with free blowing to create unique works. In 2019, the State Museum of Urban Sculpture of Saint Petersburg hosted a large-scale retrospective exhibition to mark Lev Smorgon’s 90th birthday at which the author for the first time displayed the full range of his glass artworks, alongside the famous stone, bronze and wooden sculptures, paintings, graphics, porcelainware and toys. The art glass exhibition became a discovery for many admirers of the bright and distinctive Saint Petersburg sculptor.

Выдающейся современный скульптор, живописец и график Лев Наумович Сморгон, выпускник ЛВХПУ 1952 г., был увлечен работой со стеклом до начала 1980-х. В эти годы он много экспериментировал с технологиями моллирования и спекания, совмещал эти техники со свободным выдуванием, создавая уникальные авторские произведения. В 2019 г. Государственный Музей городской скульптуры Санкт-Петербурга представил масштабную ретроспективную выставку, приуроченную к 90-летнему юбилею Льва Сморгона, на которой автор впервые показал художественное стекло в полном объеме, среди знаменитых каменных, бронзовых и деревянных скульптур, живописи, графики, фарфоровой пластики и игрушек. Экспозиция художественного стекла стала открытием для многих почитателей таланта яркого и самобытного петербургского скульптора.

In the late 19th century and the early 20th century the practice of decorative and applied arts in Russia saw its finest hour. Folk arts and handicrafts, the art of professional artists, curriculas of new educational
establishments, and the emergence of artistic manufacturing impacted the experimental current that was forming due to the flow of new ideas that foresaw the arrival of the new era of protodesign. At this historical time a rich panorama of events that shaped the future of the decorative arts was unfolding in the pages of periodicals. Leading magazines not only sought both to follow the process of artistic creation and experimentation by celebrated artists, and to offer an analysis of the future of Russia’s artistic manufacturing and the instruction of applied artists. As the 19th century was turning into the 20th century, Russian periodicals found themselves at the threshold of the new era of protodesign and paved the way for further discussion of this practice
by art critics and journalists of the decades to come.
Рубеж ХIХ-ХХ веков стал «звездным часом» для российской практики декоративно-прикладного искусства. Деятельность художественных промыслов, творчество профессиональных художников, образовательные программы новых учебных заведений, становление художественного производства-все это вошло в экспериментальный поток, который формировался в русле развития новых идей, предвосхищавших наступление эры протодизайна. В этот исторический момент на страницах периодических изданий разворачивалась богатая панорама событий, происходивших в судьбе декоративных искусств. Ведущие журналы стремились проследить не только процесс творческих поисков известных художников, но и проанализировать судьбу развития отечественного художественного производства и подготовки художников-прикладников. Российская периодика рубежа веков оказалась на пороге наступавшей эры протодизайна и передала эстафету дальнейшего освещения этой практики критикам и публицистам следующих десятилетий ХХ века.

Ilinskii, D.A., Sukharev, S.E., 'Firing of Ceramics as a Means of Artistic Expression', Terra Artis. Art and Design, no. 2, 2021, pp. 59–73.
Firing, while being a separate stage of ceramics production, can become one of the most important means of adding artistic value to the product. In current practice, electric firing, which takes place in a relatively homogeneous oxidizing environment, prevails. Gas firing and “artisanal” technologies of wood burning provide enhanced opportunities to the ceramic artist. Using various kilns to make ceramic objects has become an important part of the learning process at the Department of Art Ceramics and Glass. Students familiarize themselves with various firing technologies during summer practical training and internships, which are an opportunity for them to improve their understanding of the material and how to work with it
Аннотация Обжиг-это не только отдельная стадия производства керамики, но и одно из важнейших средств создания художественной выразительности изделия. В современной практике доминирует электрический обжиг, протекающий в относительно однородной окислительной среде. Применение газового обжига и «ремесленных» технологий дровяного обжига позволяет значительно расширить возможности художника-керамиста. Использование различных обжигов при создании керамических предметов стало важной частью учебного процесса на кафедре художественной керамики и стекла СПГХПА им. А.Л. Штиглица. Знакомство с особенностями технологии обжига проходит во время проведения летних практик, это позволяет студентам расширить представление о материале и методах работы с ним.

Аннотация В статье предлагается краткий исторический обзор развития древневосточных зооморфных изображений, несущих специфические знаки. Исследователь ставит задачу рассмотреть традиционные и новые черты в мотиве «знак-зооморфное существо» в луристанской и гиланской металлопластике, выявить художественные особенности и возможную семантику, проследить пути интеграции мотива в искусство древнеиранских регионов Луристана и Гилана.

Η Τέχνη της Φιλοξενίας
Ζωγραφισμένοι δίσκοι του 19ου αίωνα από την Ελλάδα και την Τουρκία
(Rituals of Hospitality : Ornamented Trays of the 19th Century in Greece and Turkey)
This exhibition focuses on a group of fascinating, multi-faceted 19th century objects from the field of the decorative and applied arts: the ornamented trays produced during the Indian summer of the japanning industry in Europe, which are today prized treasures of private and museum collections in Greece and Turkey.

Once an essential part of the rituals of daily life in the Ottoman empire and the newly founded Greek Kingdom – the serving of coffee and syrupy ‘spoon’ sweets but also the elaborate rituals of hospitality enacted over the partaking of meals - these objects, hitherto unpublished and under-researched, are laden with the complex socio-cultural history of their times.

This exhibition aims at an inter-disciplinary reading which looks into their iconography and function, the techniques of manufacture and places of production, the commercial routes that brought these coveted wares to the ‘east’ and the homes of their intended audience; all while simultaneously recording the contemporary ‘voices’ (both literary and visual) that document their existence - and the stories told by the objects themselves. What emerges is a kaleidoscope of colors, flavors and meanings that lie beneath the surface of these objects which balance deliciously between east and west, oriental and occidental, functional and ornamental.

Curators: Flavia Nessi-Yazitzoglou, Myrto Hatzaki

This research traces Nile scenes on wall reliefs and applied arts during the Coptic and Islamic eras, from the fourth to the fourteenth century. The most common scenes of the Nile were those dedicated to fishing, sailing and those representing living creatures associated with the Nile as birds, plants and fish. The research also highlights the difference between artistic topics covered during two periods; Coptic and Islamic and discusses permission and prohibition in the representation of living creatures in Christian and Islamic periods, based on models and applied arts.

Dudina, A.D., ‘Approaches to Translating Terminology in Art Texts’, Terra Artis. Art and Design, no. 2, 2021, pp. 136–143.
The article offers an overview of specificities of the translation of terms in art texts. To work with texts of this kind, the translator needs to have both general cultural knowledge and knowledge of the art profession. A variety of professional tasks and translation problems need to be solved to provide a translation with minimal or no loss to the general idea of the source text. Based on our research, main techniques and methods of the translation of terminology in art texts are specified.
Аннотация В статье рассматривается специфика перевода терминологии в искусствоведческих текстах. Работая с такими текстами, переводчик обязан не только обладать общекультурными знаниями, но и ориентироваться в сфере профессиональной коммуникации. При выполнении перевода возникает ряд профессиональных задач, которые должны быть решены с минимальной потерей смысла исходного текста. На основе проведенного исследования обозначены основные приемы и способы перевода терминологических единиц в искусствоведческих текстах.

Previous  research  into  the  visual  culture  and
aesthetics of porcelain shows that politics, power, status and
porcelain  have  been  closely  linked  for  ages.  Following  the
European  tradition,  where  porcelain  has  for  many  centuries
been one of the safest means of presenting the identity of royal
power, in modern Serbia porcelain has played the same role.
While spanning an area between luxury utilitarian objects and
rarities,  porcelain  was  inevitable  in  the  context  of
representation of Serbian rulers. Very often, it was not merely an
indication  of  power  and  the  desire  to  possess,  but  it  also
revealed  the  ambitions  and  aspirations  of  rulers  in  the
framework of the state policy on the identity of the dynasty and
the state itself.
Key words: porcelain, Serbian rulers, identity

The teaching and learning situation at the Department of Textile Art is continually changing. This article focuses on the development of a new experimental study assignment entitled “Designing tufted carpets and floor coverings”. The authors analyse and summarise the experience of five years of student work on this topic as part of their final projects, graduation theses, practical training and internships. The main conclusion is that the contemporary theoretic and practical methods of teaching result in the formation of competitive professionals for Russian industry.
Аннотация В статье анализируется практика нового экспериментального учебного задания «Проектирование тафтинговых ковров и ковровых покрытий», разработанного на кафедре художественного текстиля СПГХПА им. А.Л. Штиглица. На примере курсовых и дипломных работ, а также студенческой производственной практики обобщен опыт пятилетней работы студентов по данной теме. Основной вывод состоит в том, что современные методы теоретического и практического обучения студентов позволяют подготовить для отечественной промышленности конкурентоспособных специалистов.

The article is dedicated to the research of ukrainian carpet from the Państwowy Zbiory
Sztuki Zamku Królewskiego na Wawelu in Krakow (PZSz ZKW no.1726). The design of the carpet
includes the motif of “horn of plenty” and the coats of arms attributed to the Kossakowski-
Potocki family. The author identifies the owners of the carpet, specifies its date and discusses the
localization of the workshop where it was manufactured.

This part of the book focuses on history and stylistic development of Ukrainian carpets of XVII-th and XVIII-th centuries. The carpets were produced in weavers workshops organized in the residences of Ukrainian elite. Ukrainian carpets are entered into the broader framework of cultural interaction between East and West which determined the Ukrainian culture of the Baroque period.

Resumo Este texto trata de questões da problemática de concepção do projeto de arquitetura em sua natureza de arte utilitária e construtiva, e de sua condição espacial, para a prática e para o ensino, a partir de reflexão desenvolvida no exercício profissional e na docência. Discorre sobre a importância da abordagem desses aspectos no desenvolvimento dos partidos de projeto: abrangendo a complexidade de condicionantes que são enfrentadas pelos arquitetos, cujo objetivo último está vinculado a um juízo subjetivo que aspira valor artístico, apoiado em tecnologias de construção. Também é tratada a importância dos recursos de representação (o desenho, a maquete, os modelos) como ferramentas investigativas da definição dos critérios de projeto.