Introduction

From the methodological point of view exist artistic genders of a purely monumental fret that collect notable importance if take issue with the constructive nature procedures that these use in the internal development that tutela the conception of their particular models. Makes already several decades that the areas devoted to tasks of construction, town planning and other labors of architectural technique and engineering acquire and encourage the technological advances evolved from the digital side. It is more, we could consider to such disciplines, near the own of the design, as the larges instigator of the erudition and practical happened about the graph data processing. Either in the construction of the popular homestead house or in the sublime work of engineering that supposes the Museum of the Sciences and the Arts at Valencia, carried out by Santiago Calatrava, the designers equipment (architects, engineers, riggers, designers, etc.) commissioned with his manufacture appeal to the computer equipment to execute the project, to settle the different hobbles technical so much as aesthetics that emerge in connection with the structural physiognomy of the constructive model.

In 1984, Stanley Aronowitz and I begin our studies of the employment of the CAD in the municipal departments of Environmental Protection and of Transportation. Was making little that had been introduced the CAD and only some few architects and engineers were working with the machines. We observe that the architects, engineers and delineantes that were making the designs to hand always were seeming busied. Sat in theirs drawing table, were drawing constantly. The few engineers and architects that were working with CAD never were seeming be working. Sat before the screen of theirs machines, went using the mouse and constantly was remained watching the screen. They were not drawing, thinking: an important change, of be drawing constantly to be always conceiving.

In this great creative order, alluded in the previous statement by Aronowitz, Martinsons and Menser, the graphic computer systems are converted into instruments of vital importance during the evolution of the sequence that understands from the preamble until the intermediate and final phases of the project. Perfectly differentiated stages and attended by said digital systems, those which vote in good measured the key technical of the project (operations of structures calculation and material), amen of displaying multitude of representations at different abstraction and imagination level in those which can verify the artistic substratum distinctive so much of the building in itself as of the assembly method applied.

Within this same internal experiment process where is concretized the appearance of the architectural product, we attended in the last years a progressive -though they do not concern you- decrease in the elaboration of real scale models, topographics so much as of construction and special (these last nearest to empirical labor of the designers); substituted, in any event, by attractive interactive virtual creations that show a delayed concerning images sequence to the project in itself. To these are incorporated, of additional way, other applications of type multimedia that describe complementary aspects of the global design, such as conditions of adaptations, graphic describers of the environment and other visual arguments about his use. All they fixed in creative keys originating from assorted fields as the graphic and advertising design. Sectors in which branches as the photograph and the señalética relinquish their principal visual and communicative qualities for the synthetic stages attainment more explicitly veracious; supplying both a service of great interest to the cause of graphic computer, to the one which give technical support through the graphic resources transfer that increase the plasticity of a generally cold digital modeled of geometric vectorial outline.

A synthesis or argument, that attends what could designate formally as setting-up of the digital scale model within descriptive procedures digest within reach of the creative. At descriptive level, this would be resembled to a framework configured as of the same geometric elements used by the designer or traditional architect. Inventory that, in the infographic sland, goes through to isolate said elements in a series of joint graphic, between those which would fit to emphasize the primitive of exit: lines, polygons, areas, etc., converted to the dessert into the real constructive germ of solid structures. Its treatment joint within infographic compendiums finds equivalence with the spatial and geometric laws that order the bases of the classic technical drawing; being analogous the construction, for example, of the known revolution figures, as well as the insert of any model within the coordinate shafts 2D and 3D established.

Architectural digital practice absorbs, by so much, different precepts, by a part of scientific disciplines, and additionally of matters -already indicated- nailed in the plastic and environmental arts. Of the first, it procures the technical base that take advantage to satisfy the tasks of calculation; of the second, each one of the applications or graphic standards that contribute to shade the attributes of the elements that certify the architectural model, that is to say, textures, gradations, line games, etc.

Soaring us to the whiteness of the data processing technology applied to the constructive procedures (in the ´60), we discovered as were granted then a greater interest to the technical disciplines assignment as the math, since the structures obtained in the graphic process were attending basically to a simple variety of synthetic linear studdings. The varying aesthetics was remaining then subordinated to a graph synopsis in the one which the model was appearing drawn into flat colors, emerging gradually chromatic gradation standards that were showing the most figurative plot of the object represented through the reproduction of the matter than describes his external appearance. Plastic games in variable those which as the light projection fulfil an essential paper, since of this concretely depart so fundamental principles as the visual description of the volumes or the installation and real direction of the plans -of the surfaces- that are extended in the scene.

At technical level, the plans tracing -of drawings- facilitates the geometric and spatial description of the architectural elements included within graphic plan. Of this manner, the representation, for example, of a line on the screen of our ordering provides a series of coordinates and style and size attributes that will stay housed within the process and storage unit of the machine. Circumstance that imply the one which any spontaneous maneuver effected with peripheral devices, as could be the optical pencil or the same mouse, remain mechanically registered; it being established thus a link that laces the conventional artistic training action of the outline with the alphanumeric fixing of the different corresponding specific parameters to the drawn graphic element. In fact, two states in those which are generated automatically the necessary binary codes to compose an objetual structure -digital-, whose logic base comes labeled by different measurements of calculator order verified as of a particular software (normally of vectorial type).

In other things order, the architectural project from their principles has been served of two-dimensional support as effective representation platform. A means in the one which easily they could be inserted -and in certain edited manner-, through different technical of drawing, the distinctive attributes of the represented model. Thus, technical and engraving utensils, water-color, pastel, graphite, etc. were putting to the service in the architectural mastery their more suitable plastic qualities to reach a description what is nearest to made-up reality.

This age-old kind of drawings or constructive nature images requests for their normal accomplishment and understanding basically two general premises, based on: the first, in the establishment of an assorted conceptual elements code (line, point and plane, mainly) and of resources or applicable features to these elements (color and texture, referred both to the aspect of the materials); the second, in a perfect study of the space, happening to be converted the perspective into the principal mechanism to differ -and to isolate- between flat and objects intercalated in the image plan.

At present, recapturing the digital methodological speech, the technical and the artistic part continue parallel roads within area CAD that generically includes to the architectural design, without no of they capitalize an essential power on the other. In the intermediate stages of the process both have assigned their presence, being confined of way ordered within this. Normally, the part of structures modeling and calculation concentrates about 75% initial of the development; remaining for the end the applications that transact the chromatic treatment of the surfaces. A last fourth of the process that describes perfectly the definitive appearance of the built model, being formalized in that point the own attributes of the plastic sequence (color, light, quality of the materiales...) in combination with the alphanumeric parameters agreed in previous phases. Examined of general way, an analogous procedure this to use in fields as the industrial design: areas, where the essential purpose of the computer instrument goes through a clear and specifies volumes delineation.