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Persian architecture is characterised by shapes and patterns, which can be analysed through mathematical models. Beside 2D patterns, many of the traditional geometric ornaments are realised on 3D surfaces such as domes or vaults. Literature mainly addresses the 3D problem by means of a 2D scheme, which is an important and synthetic representation but is not exhaustive and lacks of clarity. This paper proposes a framework based on the integration of 2D drawings, as in the traditional approach, and a photogrammetric 3D model based on a sample of standard resolution images (tourist pictures). The framework is tested on a muqarnas, a characteristic Persian ornament, in order to study and analyse its modular design and hierarchy of elements. As a case study, the entrance iwan of the Shah Mosque in Isfahan, Iran, is considered. The result is a link between the 3D patterns and the geometry of architectural elements, which completes and overcomes their schematic 2D representation.

Cylindrical mirror surfaces fall into the group of reflecting surfaces that give a distorted image of an object. However, if the object is designed according to the laws of optical geometry, in a way that its mirror image is conceived in advance, then this is anamorphosis. The objective of the present study is to emphasise the potential of cylindrical mirror anamorphosis, in the context of change in the urban-architectural ambience. In this respect it is necessary to obtain a constructive, geometrically correct solution of the 3D model of cylindrical-mirror anamorphosis, whereby the mirror surface is a vertical rotating cylinder. This topic is the primary focus of the present research. In addition, the conditions for change in the anamorphic form were analysed, and its possible functions in architecture were identified. Various examples of existing buildings with cylindrical mirror elements, in respect of which it was possible to construct and apply these types of anamorphoses, were used. The method of constructive perspective and the laws of optical geometry were applied. Analyses were made on the basis of experiments and using AutoCAD 3D methods to analyse the mirror anamorphosis of a cube and octahedron.

Regarding drawing perspective, Spanish tradition has hidden singularitiesthat greatly distinguish it from other European traditions. Spanish tradition, how-ever, simultaneously nurtures ideas from these traditions, such as those of Italy andFrance, creating multiple variations and novelties. This study presents a briefjourney through the lesser-known exempla, which are lesser studied in the scientificcommunity. The study focuses on the ‘angular perspective’ by architect Herna ́nRuiz the Younger (el Joven), the innovative construction of figures in perspective bythe carpenter Antonio de Torreblanca and the singular contributions to the anony-mous manuscriptArtes Exc ̧elenc ̧ias dela Perspectiba.All three studies are similar inthat they feature novel and heterodox premises within the general theory

At the Bachelor degree course in Engineering/Architecture of the University "La Sapienza" of Rome, the courses of Design and Survey, in addition to considering the learning of methods of representation, the application of descriptive geometry and survey, in order to expand the vision and spatial conception of the student, pay particular attention to the use of information technology for the preparation of design and survey drawings, achieving their goals through an educational path of "learning techniques, procedures and methods of modeling architectural structures." The fields of application involved two different educational areas: the analysis and that of survey, both from the acquisition of the given metric (design or survey) to the development of three-dimensional virtual model.

Докторска теза се бави различитим системима представљања архитектуре у Сарајевској хагади и илуминираним сефардским хагадама 14. века. Без обзира на доста добру проученост средњовековних јеврејских рукописа, ова тема до сада није била обрађена у научној литератури. Четири хагаде настале око средине 14. века у Каталонији чине основу наше грађе: Сарајевска хагада (Земаљски музеј, Сарајево), Златна хагада (Лондон, Британска библиотека, Or. 27210), Риландс хагада (Манчестер, Џон Риландс библиотека, Heb. Ms. 6), и тзв. “Двојна (Братска)” хагада (Лондон, Британска библиотека, Or. 1404). Са друге стране, једна ашкенаска хагада илуминирана скоро у исто време у Немачкој (Хагада са птичијим главама, Израелски музеј у Јерусалиму, Ms. 180/57) представља компаративну грађу која нам омогућава да јасније сагледамо одређене проблеме. Студија почиње прегледом истраживања Cарајевске хагаде и осталих хагада из наше грађе. Затим следи преглед методских проблема у вези са начином разумевања визуелности у јеврејској култури средњег века која се традиционално доживљава као изразито аниконична. Систематским излагањем различитих научних ставова долазимо до закључка да је јеврејски аниконизам у ствари мит и да је визуелност у јеврејским заједницама средњег века била изразито развијена. Четврто поглавље бави се историјским околностима појаве и развоја јеврејске културе на тлу Шпаније и различитим културним моделима који су утицали на формирање сефардске културе. Пето поглавље се бави настанком хагада као илустрованих књига, посебно енглеским и француским псалтирима као непосредним узорима за настанак уводних циклуса минијатура у сефардским хагадама. У нашем истраживању посебна пажња је поклоњена идентификовању модела као и иконографској и иконолошкој анализи сцена са представом архитектуре којима је посвећено шесто поглавље. Затим следи истраживање архитектонских топоса као специфичних визуелних општих места, којима се бави седмо поглавље. У осмом и деветом поглављу се анализирају начини коришћења појединих архитектонских елемената као и представљање одређених врста архитектуре: простора, ентеријера, рама, архитектонског мизансцена, „грађене“ и „топографске“ архитектуре. Завршно поглавље рекапитулира закључке претходних и износи тезу о специфичном јеврејском начину конструисања рама и простора у Сарајевској хагади. На основу овде изведених истраживања о начинима стварања и употребе простора у средњовековним сефардским хагадама може се изнети теза да су јеврејски уметници и поручиоци у Шпанији у 14. веку, зналачки „пловећи између екстрема“ – који су претстављале фигуративна хришћанска са једне и аниконичка арапска култура са друге стране – у декорацији својих рукописа свесно бирали оне архитектонске моделе који су им омогућили да створе сопствену независну визуелну естетику. Естетику која је до детаља пратила потребе нарације вођене литерарним предлошцима из Танаха и мидраша али и савременим филозофским схватањима и која није била заведена модерним визуелним експериментима са илузионистичком представом простора. The PhD thesis deals with the various visual systems of architectural representations and framing of narrative in illuminated Sephardic haggadot. Previous researches of this topic have left many open questions and failed to give a comprehensive insight into this complex subject. Four Haggadot, produced around mid-14th century in the same area of Catalonia: Sarajevo Haggadah (Sarajevo, National Museum of Bosnia and Herzegovina), Golden Haggadah (London, British Library, Or. 27210), Rylands Haggadah (Manchester, John Rylands Library Heb. Ms. 6) and Brother Haggadah (London, British Library, Or. 1404) provided the core of our research material. On the other hand and investigation of an Askenaz Haggadah – The Bird’s Head Haggadah (Jerusalem, Israeli Museum Ms. 180/57), produced aproximately in the same period, provide us with the opportunity to compare the differences and to draw some conclusions. The study opens with the introduction followed by the second chapter with the survey of the state of research regarding Haggadah of Sarajevo and other haggadot from our material. The third chapter is dedicated to the methodological issues regarding ways of understanding visuality in medieval Jewish culture which is traditionally seen as pronouncedly un-iconic. Using systematic presentation of various scientific views, we arrive to the conclusion that Jewish un-iconism is actually a myth, and that visuality in Jewish medieval communities was outstandingly developed. The fourth chapter deals with historical circumstances of appearance and development of the Jewish culture on Iberian peninsula, and with various cultural models that influenced modeling of Sephardic culture. Fifth chapter deals with emergence of haggadot as illustrated books, especially with English and French Psalters as immediate source for introductory cycles of miniatures in Sephardic haggadot. Our research devotes special attention to identifying models, as well as to iconographical and iconological analysis of scenes with architectural representations, what the sixth chapter is devoted to. It is then, in the seventh chapter, followed by research of architectural topoi as specific visual common places. In the eight and ninth chapter, ways of utilization of specific architectural elements are being analyzed, as well as representation of specific architectural categories: space, interior, frame, architectural mis-en-scene, “constructed” and “topographical” architecture. Final chapter recapitulates conclusions reached in previous chapters, and presents concept of specific Jewish way of frame and space construction in the Haggadah of Sarajevo. Based on hereby presented research of the ways of creation and utilization of space in medieval Sephardic haggadot, it is possible to suggest that 14th century Jewish artists and patrons in Spain knowingly “navigated between extremes” – represented by figurative Christian and un-iconic Muslim art – decorated their illuminated manuscripts by consciously choosing those architectural models that enabled them creation of their own independent visual aesthetics. That aesthetics followed in details the needs of narrative, guided by literary templates from Tanah and Midrash, as well as from contemporary philosophical ideas, and was not misguided by modern visual experiments with illusionistic space representation common in contemporary Gothic art.

Attefall-house: Greater than the sum of its parts? I am exploring how to create a small scale space which is more than just a functional space, a space that also provides an architectural experience. I am using the Swedish Attefall-house as a case study. This small, permit-free construction comes with a frame and it has clearly defined rules and limitations. The smallness of it allows for experimentation and in the normally hard-regulated Swedish building climate, it provides an opportunity to try out ideas without having to be too serious. I am trying to create this sensory experience by fusing function and context together with selected architects’ and artists’ ideas. What happens when these seemingly disparate ingredients combine? Will the whole be greater than the sum of its parts? Attefallshus: Större än summan av delarna? Jag utforskar hur man kan skapa ett rum i liten skala som är mer än bara ett funktionellt rum, ett rum som också är en arkitektonisk upplevelse. Jag använder mig av Attefallshuset som fallstudie. Denna lilla, bygglovsbefriade, konstruktion kommer med en ram, den har tydligt definierade regler och begränsningar. Dess storlek tillåter experimenterande och, i det normalt hårt reglerade svenska bygglovsklimatet, erbjuder en möjlighet att testa idéer utan att behöva vara för allvarlig. Jag försöker skapa denna sensoriska upplevelse genom en fusion av funktion och kontext tillsammans med ett urval av arkitekters och konstnärers idéer. Vad händer när dessa till synes disparata ingredienser kombineras? Blir helheten större än summan av delarna?

A arquitetura, pelo enorme impacto que tem na vida das pessoas e da cidade, é uma área que desperta o interesse por parte do público que gosta de conhecer e perceber o que está por trás da conceção arquitetónica. A divulgação da disciplina é realizada frequentemente a partir de exposições, sendo este um método essencial para a difusão da mesma, tornando o mundo da arquitetura mais acessível à sociedade, dando-lhe a conhecer as novas criações e conceitos. Partindo do princípio que as exposições surgem no âmbito da divulgação da prática da arquitetura, a verdade é que estas são essencialmente direcionadas para os profissionais da área e deixam de parte um público menos familiarizado com os termos e as representações técnicas utilizadas, dificultando o entendimento desta disciplina por parte destes. Nas exposições de Arquitetura utilizam-se vários métodos de apresentar os projetos, tais como painéis, maquetas, fotografias (reais ou fotomontagens), filmes, entre outros. Com o evoluir da tecnologia, estas ferramentas têm vindo a incluir o recurso aos computadores e são complementadas p.e. com modelos 3D virtuais. Assim sendo, a presente investigação coloca como hipótese que a introdução na exposição de arquitetura de ferramentas de utilização mais direta e interativa com o público permite um entendimento mais claro do projeto. Deste modo a análise do objeto arquitetónico pode ser aprofundada do ponto de vista da sua constituição e conceção, dando ao observador a oportunidade de explorar esta informação de forma interativa, no âmbito deste trabalho, através da Realidade Aumentada (RA). A Realidade Aumentada constitui uma variante da Realidade Virtual, em que se distingue desta, segundo Cawood e Fiala (2007), porque a RA tem o objetivo de criar a sensação de que o objeto virtual esta presente no mundo real. Oferecendo ao observador a “impressão de que os objetos virtuais e reais coexistam no mesmo ambiente, e que possam interagir ou manipulá-los” (Caramelo 2010). A utilização da RA permite várias formas de visualização dos objetos arquitetónicos, dando a possibilidade do utilizador desmontar o objeto, o que possibilita observar os seus vários elementos separadamente. Outra forma através da qual a exposição em arquitetura pode tirar partido da RA, é a sua interação com o utilizador e a sua sobreposição aos métodos de representação mais tradicionais (maquetas, desenhos, diagramas, entre outros). O desenvolvimento deste trabalho foi realizado com o apoio do grupo de computação gráfica da ADETTI -IUL e Microsoft, utilizando o software por eles desenvolvido. Realizaram-se testes de usabilidade da tecnologia, no contexto expositivo em arquitetura e no final do 2º semestre foi possível participar na montagem de uma exposição na qual se tirou partido da RA. Esta exposição permitiu pôr em prática todo trabalho teórico desenvolvido até à data, sendo depois possível fazer uma avaliação crítica da viabilidade e interesse desta tecnologia em ambientes de exposição com RA. in public who enjoys and seeks to understand what is behind the architecture design. The promotion of this field of study is often accomplished through exhibitions. This important method of dissemination is essential in order to make the architecture world more accessible to the public in general, allowing the knowledge and appreciation of new concepts and creations. Assuming that architecture exhibitions arise in the context of public promotion of the projects and developed works, the truth is that these are primarily directed to the professionals of the field. Therefore, the public might not get as familiarized with the terms and technical representations that are used to support the exposed work, hampering ones understanding. Architecture exhibitions see several methods of presentation of the projects, such as panels, models, photographs (authentic or in a photomontage format), movies and many others. However, the evolution of the technology has allowed the inclusion of computer programs, complemented especially with 3D virtual models. Therefore, this research seeks to propose the following hypothesis: the introduction in the architecture exhibitions of a typo of more direct and interactive tools, in order to ensure a more public-friendly understanding of the complexity of an architecture project. Under this hypothesis, the architectonical object can be deepened in what regards is construction and design, which allows the public the opportunity to explore the information in a more enjoyable way – via “Augmented Reality” (AR). Augmented Reality is a variation of Virtual Reality and according to Cawood and Fiala (2007), these are two different concepts. RA intends to create the feeling that the virtual object is, in fact, physically present in the real world and in the moment, offering the viewer the “impression that the real and the virtual objects coexist in the same environment and that they can interact with them or manipulate them.” (Caramelo, 2010). The use of AR allows various forms of visualization of architecture objects and designs, giving the possibility for the user (public) to disassemble the object, making it possible for its various components to be separately analysed and appreciated. Architecture exhibitions may also benefit from AR in its interactive feature with the public, when in comparison with the more traditional representation methods (such as models, drawings, diagrams and many other). This paper and the work inhered have been carried out with participation the support of the group of computer graphics ADETTI – IUL and Microsoft, using the software developed by the mentioned entities. During the process of this word, technological usability tests have been conducted in an architecture exhibition context, which took place at the end of the second semester. The said exhibition has allowed implementing all the theoretical work to the date, which has proven key for a critical and improvement analysis of the AR’s performance in the architecture exhibitions scenarios.

The question of uncertainty into the architecture representation is not new. The ancient figurations already showed differences in visual processing between existing structures and missing or not visible elements. With the emergence of digital tools and the use of 3D in virtual archaeology, newpossibilities to represent the uncertainty have been offered to the archaeologists. After the presentation of the state of the research on the uncertainty definitions and the modalities to express and to visualize the uncertainty, we have experimented solutions of visualization in order to assess their reliability. Based on results, we have proposed a method to assess data used into the process of the construction of a 3D model., La question de l’incertitude de la représentation de l’architecture n’est pas nouvelle. Les figurations anciennes montraient déjà des différences de traitement visuel entre les structures existantes et les éléments disparus ou non visibles. Avec l’usage des outils numériques et de la 3D en archéologie du bâti, de nouvelles possibilités de visualisation de l’incertitude s’offrent aux archéologues. Après avoir dressé un état de la recherchesur la définition de la notion d’incertitude et des modalités d’expression et de traitement visuel de l’incertitude, nous avons testé sur deux sites historiques des solutions de visualisation afin d’évaluer leur pertinence. Sur la base des résultats, nous avons proposé une méthode d’évaluation des données utilisées dans le processus de construction du modèle 3D.

Bruno Zevi ha publicado Saber ver la arquitectura (Saper vedere l'architettura) en 1948. Caracterizando la naturaleza espacial de la arquitectura, él encuentra su afinidad con el lenguaje cinematográfico por medio de la articulación entre el tiempo y el imagen. Este trabajo presenta los resultados de una recolección realizada en el acervo de videos de la biblioteca de la Facultad de Arquitectura y Urbanismo de la Universidad de São Paulo (FAUUSP). Se ha investigado el empleo de ese lenguaje en nuestros días - considerando sus posibilidades con la implementación de la tecnología de la información - para la producción, la utilización de los nuevos recursos y su empleo en la didáctica, la documentación y la difusión del conocimiento de la arquitectura y el urbanismo. Bruno Zevi publicou Saber ver a arquitetura em 1948. Caracterizando a natureza espacial da arquitetura, encontra sua afinidade com a linguagem cinematográfica pela articulação entre tempo e imagem. Este trabalho apresenta os resultados de um levantamento realizado no acervo de vídeos da biblioteca da FAUUSP. Investiga-se o emprego dessa linguagem em nossos dias - considerando essas possibilidades acrescidas da tecnologia da informação - para a produção, aproveitamento dos novos recursos e seu emprego para a didática, a documentação e a difusão do conhecimento da arquitetura e do urbanismo. Bruno Zevi published Architecture as space: How to look at architecture (Saper vedere l'architettura) in 1948. By characterizing the spatial nature of architecture, he finds its affinity with the cinematographic language through the articulation between time and image. This article presents the findings of a survey carried out at the video collection of the Architecture and Urbanism College of the University of São Paulo (FAUUSP). It investigates the current use of this language - considering its possibilities with the support of information technology - for the production, documentation, and diffusion of the knowledge of architecture and urbanism, and to employ these new resources in cinematographic language for teaching purposes.