Technical Drawing

The Lost Art of Drawing non è un semplice titolo per un articolo o una mostra d' arte. L' editoriale di Michael Graves sul New York Times è anzitutto un grido di passione, di dolore e di responsabilità insieme. Non si discute sul concetto e la rappresentazione dell' architettura, intesa come arte, mestiere e professione, bensì sul suo divorzio dal disegno: una parte essenziale di un percorso mentale e creativo che nasce da un bozzetto estemporaneo, utile a catturare un' idea, fino al progetto finito. Un esercizio che trasforma l' immaginazione in materia.
La collezione dei disegni, custoditi nell' archivio storico dell' Accademia delle Belle Arti di Roma, che vengono portati a conoscenza del pubblico, ne prende le mosse e di quella voce ne è l' eco. Un risuonar felice di mani e di segni che sono il tratto delle alte scuole di formazione italiana.
L' Harvard Club of Italy non solo rappresenta una prestigiosa Accademia degli Stati Uniti d' America e la comunità dei suoi laureati in Italia, ma sostiene i valori dell' eccellenza e del merito. Come quelli degli studenti di architettura di oltre cento anni fà - successivamente riconosciuti nel mondo quali grandi architetti - che sono tra coloro i quali hanno fatto tra le cose più belle, sicuramente a Roma, ma non solo. Almeno prima e fintanto che, per troppo tempo, andasse in qualche misura
sfumando il senso della bellezza e del paesaggio che fanno dell' Italia il Paese ammirato che è.

Dal Saggio di Fabio Filocamo

- LAURA ÁLVAREZ BENÍTEZ
IRISH LEGENDS: THE CHILDREN OF LIR
THE MOUSETRAP. AGATHA CHRISTIE. READING GUIDE
09 – 18
20 – 38
- ESTHER MANSILLA RODRÍGUEZ
LA ENTREVISTA MOTIVACIONAL EN TUTORÍA
40 – 50
- ANTONIO DADER GARCÍA
EL SISTEMA DIÉDRICO DIRECTO EN LAS PRUEBAS DE ACCESO A LA UNIVERSIDAD
52 – 62
- ESTER ROMERO CABALLERO
LA IMPORTANCIA DE LA METODLOGÍA CLIL EN LA EDUCACIÓN BILINGÜE
64 – 75
- IVÁN GUERRERO VAQUERIZO
INTRODUCCIÓN A LA COMPRESIÓN DE VÍDEO BASADA EN REDUNDANCIAS
77 – 87

طراحی چیست
برای این که بدانیم طراحی و انواع آن چیست، اول باید تعریف طراحی را بدانیم. طراحی، یکی از اولین فعالیت هر هنرمند در روند پدید آوردن اثر هنری است. در مرحله ی طراحی، تغییر و تحولات ضروری «از اندیشه تا عمل» رخ می دهد. آنچه در طراحی اهمیت دارد جریان و روند خلق هنری یا شیوه ی هنرمندانه است. در آثار طراحان بزرگ، طراحی نه تنها منبعی از الهام هنرمندانه به شمار می آید که خود به ابزاری بیانگرانه بدل می شود. طراحی بیانگر ظرافت، خشونت، غم، شادی و به دیگر سخن، آینه ی تمام نمای مکنونات قلبی هنرمند است.

Objectives of CAD study manual:
1. Satisfy 2D draughting requirements
2. Provide learner with working skills at the Basic to Intermediate Levels of Computer
Aided Design Draughting for the Industrial, Mechanical Engineering, and Construction environment.
3. Encourage learner to pursue further skills on their own in Technical CAD Draughting.
4. Applying knowledge from Technical Drawing studies in producing CAD Drawings.
5. Understanding the purpose of The Standard AS/NZS 1100 Part 201.
    Other countries have their own similar standards.
6. Working in a group environment for achieving successful CAD Project accomplishments.
7. Provide learner with the software tools to generate technical drawings.

This study manual prepared by me for students in engineering technology programs in 2013. Any errors and omissions apologies in advance.

Giriş Etimolojik olarak "maket" sözcüğüne bakıldığında Fransızca maquette sözcü-ğünden alıntıdır. Fransızca sözcük İtalyanca macchietta "küçük çizim, taslak" sözcü-ğünden alıntıdır (EtimolojiTurkce, 2018). Sözlük anlamı, "Mimarlıkta, sanayide ve bazı sanat dallarında yer alan eserlerin taslak durumundaki küçük örneğidir" (TDK, 2018). "Maket" sözcüğünün Türkçe'deki diğer iki karşılığı da yine Fransızca'dan di-limize girmiş olan "model" ve "minyatür" kelimeleridir. Bu kelimelerin Fransızca aslı ise "modèle" ve "miniature" biçimindedir. Terim olarak ise maket; herhangi bir nes-nenin belirlenen ölçekte, aslından küçük ya da büyük olarak bir örneğinin yapılma-sını ifade eder (Gürbüz, 2009). Maket ile ilgili tarihsel içeriğine bakmak için Albert C. Smith (2004)'in, "Archite-ctural Model as Machine: A New View of Models from Antiquity to the Present Day" kitabını incelemek faydalı olacaktır. Smith (2004)'e göre 'maket', Fransızca modele, İtalyanca modello olarak ifade edilen Latince modellus'tan gelmektedir. Modellus da, modus kelimesinin küçültme eki almış halidir. Latinceden gelen Modus'un an-lamı ise 'ölçme/ölçü demektir. Maket, kendisinden daha büyük bir objenin, ölçek-lendirilerek küçültülmüş bir temsiliyetidir. Maket, henüz yapılmamış bir parçanın üretilmesinde plan görevi görerek, bir nevi ilk örnektir. Dunn (2007) model kavra-mını "(var olmuş olan, var olan ya da var olma olasılığı olan nesneler veya sistemle-ri içeren) gerçekliğin temsiliyeti, o olmadan gerçekliğin karmaşıklığının asla temsil edilemeyebileceğini savunur. Janke (1968) mimari fiziksel modelleri beş kategoride sınıflandırmıştır: şehir planlama araştırmaları için modeller, bina modelleri, inşa-at ve detay modelleri, iç-mekan modelleri ve özel modeller. Porter & Neale (2000), Janke'nin sınıflandırmasını geliştirerek, mimari fiziksel modelleri: kavramsal, arazi tasarım geliştirme, kütle, mekan, yapısal, iç mekan, aydınlatma, rüzgar tüneli, su-num, sergi ve gerçek-boyutlu modeller olmak üzere sınıflandırmıştır (Gürsoy, 2010). Günümüzde maket sadece mimari alanda değil biyoloji ve tıp alanlarında insan vücudunu incelemek amacıyla, yerküre maketi olarak Dünya'nın küçültülmüş bir örneğini incelemek amacıyla, askeri amaçla, detaylarına göre çeşitli ölçeklerde ve statik ya da hareketli maketler olarak da bulunur.

The article discusses Andrea del Sarto's use of cartoons throughout his career and gradual transition to the involvement of members of the workshop in the design process. Presented here for the first time with an attribution to Andrea del Sarto is a large-scale fragment of a drawing of a young boy looking and pointing toward the right, the only surviving example of a fully autograph cartoon for a painting within the artist’s corpus of drawings and a crucial missing link for the full understanding of his working method.

The result of research on the history of mechanical engineering and design, this study identifies Leonardo’s innovative approaches to technical problems, correcting previous assumptions about his lack of technical knowledge as an engineer. Innovative strategies include his use of Euclidian and Archimedean geometry, dimetric parallel projection, consistency of scale, proportions of one-third throughout the structure, and proportional calculations of its force. The sophistication and precision of the drawing, compared with others by Leonardo and his contemporaries, locates it among his plans for a military treatise, re-dates it to a later period of 1490-93, and associates it with similar working methods across disciplines at the turn of the sixteenth century.

The article focuses on an unpublished list of drawings made by the artist Luigi Ademollo for some important patrons belonging to the aristocratic and clerical class in Tuscany between the late 18th and early 19th century. Some artworks are of particular interest because they are related to mural paintings of which every graphic evidence was believed to be lost. The essay highlights Ademollo’s talent as a draughtsman, especially when he challenged himself with complex as well as rewarding artistic commissions. This is a crucial aspect of Ademollo’s artistic profile since he was often described as a prolific artisan rather than a proper artist. Finally, considering his past artistic training, and coeval international sources, the essay shows Ademollo’s versatility and method of composition when facing different kinds of artistic mediums such as oil painting, frescoes or ephemeral and memorial furnishing.

ABSTRACT
This study reported the effect of computer assisted instruction (CAI) AutoCAD learning package in teaching technical drawing among Senior Secondary Schools students in Ogun State. This study adopted a quasi-experimental design, specifically, the pre-test, post-test , non-equivalent control group design, 186 students of technical drawing I (SSS 1) were selected through multi stage sampling from four Senior secondary schools in Yewa South Local Government Area in Ogun State. Two of the schools with 93 students were used as control group while the remaining two schools with 93 students were used as experimental group. A validated Technical Drawing Achievement Test (TDAT) was used for data collection. A reliability coefficient of 0.87 was obtained using test-retest reliability technique and Pearson Product Moment Correlation. Three research questions guided the study and three hypotheses were tested; Data collected were analyzed using mean () for the research questions and Analysis of Covariance for the hypotheses at 0.05 level of significance. The research findings revealed an improved difference in the performance of students after being exposed to the use of Computer Assisted Instruction (CAI) (Mean Deviation = 8.55; df = 92; t=43.832; p ˂ .05) in teaching of Technical drawing. Also, the findings revealed a significant mean differences between the pretest-posttest mean score of students in control group taught technical drawing with conventional teaching method and the experimental group taught technical drawing with computer assisted instruction (CAI) (F = 20.653; p ˂ .05) which is an indication that the effect of computer assisted instruction (CAI) on students’ academic performance is higher than the effect of the conventional teaching method. In the same vein, the findings in the study revealed a slight but not significantly different mean performance between male and female students in the experimental group (M = 8.89& 8.46; df = 91; t= .038; p ˃ .05). Based on the findings, it was recommended among other things that the use of computer assisted instruction (CAI) for instructional facilitation should be employed by teachers and administrators to facilitate meaningful learning in technical drawing. Also, computer assisted materials should be developed on topics that may need some extra support to teach.

En este volumen se recogen las Actas del Simposio Internacional La Compañía de Jesús y las artes. Nuevas perspectivas de investigación, celebrado en la Facultad de Filosofía y Letras de la Universidad de Zaragoza los días 19 y 20 de diciembre de 2013, vinculado con el Proyecto I+D Corpus de Arquitectura Jesuítica II; un proyecto interuniversitario e internacional, dirigido desde el Departamento de Historia del Arte de la Universidad de Zaragoza. En este encuentro quedó patente el renovado interés por el estudio del arte de los jesuitas y se expusieron las vías de investigación que se están desarrollando en diferentes universidades nacionales y extranjeras, presentadas tanto por prestigiosos estudiosos sobre el tema, cuanto por jóvenes investigadores, que explicaron sus trabajos, intercambiaron conocimientos, debatieron hipótesis, plantearon sus propuestas metodológicas y relataron la variada problemática surgida en cada investigación, con una discusión y debate en los que pudieron participar todos los asistentes. Todo ello se ofrece ahora al público en general –y a la comunidad científica en particular– en este volumen.

1.- Los Jesuitas y las artes. Nuevas investigaciones, nuevas visiones, por María Isabel Álvaro Zamora y Javier Ibáñez Fernández
2.- La arquitectura jesuítica en Aragón: primeras fundaciones. Objetivos y metodología de trabajo, por Naike Mendoza Maeztu
3.- El colegio de la Compañía de Jesús de Tarazona (Zaragoza): metodología de trabajo y fuentes para su estudio, por Rebeca Carretero Calvo
4.- La Compañía de Jesús en Navarra y las artes. Estado de la cuestión y fuentes para la investigación, por María Josefa Tarifa Castilla
5.- El Colegio de la Compañía de Jesús de Segovia. Fuentes y metodología de estudio, por Cristina García Oviedo
6.- El colegio de la Compañía de Jesús de Soria. Fuentes y metodología, por Fernando del Ser Pérez
7.- La Casa de Administración del Colegio Imperial de Jesuitas en Arganda del Rey (Madrid), por Raquel Novero Plaza
8.- La serie dei disegni della Provincia Mediolanensis Italiae, por Isabella Carla Rachele Balestreri
9.- Bartolomeo Ammannati, arquitecto y benefactor de la primera sede jesuítica en Toscana: San Giovanni Evangelista (1572-1592), por Teresa J. Gómez León
10.- Progetto e revisione. Il modo nostro nelle vicende del collegio dei Gesuiti di Iglesias, por Emanuela Garofalo
11.- A arquitectura das primeiras igrejas jesuítas em Portugal: São Roque de Lisboa e Espírito Santo de Évora. Confessionários, púlpitos e tribunas, por Rui Lobo
12.- Ciudad y territorio en las misiones jesuíticas de indios guaraníes, por Pablo Ruiz Martínez-Cañavate
13.- Identidad y globalización en las fachadas jesuitas de Pekín en el siglo XVIII, por Pedro Luengo
14.- La adopción del manual de Perspectiva de Andrea Pozzo en la docencia jesuítica española, por Sara Fuentes Lázaro
15.- Reconsideración de la iglesia del noviciado de San Luis, de Sevilla, a la luz del tratado del jesuita Andrea Pozzo, por Alfonso Rodríguez G. de Ceballos
16.- Tan verdadero Dios, como verdadero hombre: Cristo vestido de Jesuita, por Ángel Peña Martín

Introduction to the book  Dibujo y Ornamento: Estudios en Honor de Fuensanta Garçía de la Torre. Trazas y dibujos de artes decorativas entre Portugal, España, Italia, Malta y Grecia, ed. Sabina de Cavi (Córdoba, Diputación Provincial de Córdoba-Roma, De Luca Editori d’Arte, May 2015): state of the question on the theory and oractice of geometric and linear drawing for the decorative and applied arts in the early modern era, with a particular emphasis on architectural ornament, workshop drawings and -in general- the process of design in pre-XXth century artistic practices