The Design Drawing, Between Vagueness and “danger”, from Mansart to Domus

  • Simona TalentiEmail author
Conference paper
Part of the Advances in Intelligent Systems and Computing book series (AISC, volume 1140)


If architects usually consider drawing as a tool for the creation and development of any project, recognizing to it an essential role in the gestation phase of the project, it is also true that during the last four centuries, design drawing has sometimes been seen as a tool to set the ideas that architects had “mentally” developed in their minds. On the one hand, we have the idea put forward in 1935 by the famous American poet Gertrude Stein according to which the creation act takes place between the pen and the paper, on the other hand, the conception that the graphic act would have a reduced impact on the creative process and could even prove to be a real “danger” for it. It is important to reflect on this concept of “danger”, which may be related to the fact that the drawing may be sometimes disconnected from the mental act or simply replace it, or well to the intrinsic inaccuracy of the drawing itself in relation to the conceptual elaboration of the project (that is to say, the imprecision of the drawing in the visualization/materialization/representation of the mental idea).


Design drawing Danger Vagueness Mansart Le Corbusier Perret 


  1. Babelon, J.-P.: François Mansart. Le génie de l’architecture. Paris, Gallimard (1998)Google Scholar
  2. Cardone, V.: A proposito di nome, contenuti, programmi e prospettive per la nostra area culturale. EGA - Revista de Expresión Gráfica Arquitectónica 10, 48–57 (2005)Google Scholar
  3. Cardone, V.: Modelli grafici dell’architettura e del territorio, terza edizione (Barba S., dir.). Maggioli Editore, Sant’Arcangelo di Romagna (2015)Google Scholar
  4. Cohen, J.L., Abram, J., Lambert, G.: Encyclopédie Perret. Ed. Du Patrimoine, Paris (2002)Google Scholar
  5. Di Battista, N.: Editorial. Domus 1010, 1011, 1012, 1014 (2017)Google Scholar
  6. Docci, M.: Il disegno di progetto dalle origini al XVIII Secolo. Gangemi, Roma (1997)Google Scholar
  7. Ghiselin, B.: The Creative Process: Reflections on the Invention in the Arts and Sciences. University of California Press, Berkeley-Los Angeles (1954)Google Scholar
  8. Lebahar, J.-Ch.: Le dessin d’architecte; simulation graphique et réduction d’incertitude. Parenthèses, Marseille (1983)Google Scholar
  9. Le Corbusier: Concevoir d’abord, construire ensuite. L’Architecture d’Aujourd’hui IV 10, 29–30 (1933)Google Scholar
  10. Maldonado, T.: Reale e virtuale. Feltrinelli, Milano (2005)Google Scholar
  11. Mezzetti, C.: La rappresentazione: prefigurazione e restituzione della realtà. In: Palestini, C. (dir.) Progetti, rappresentazione, rilievo, pp. 9–10. Gangemi, Roma (2008)Google Scholar
  12. Perrault, Ch.: Les Hommes illustres qui ont paru en France pendant ce siècle: avec leurs portraits au naturel. Chez Antoine Dezaillier, Paris (1696)Google Scholar
  13. Petit, J.: Le Corbusier, lui-même. Rousseau, Paris-Genève (1970)Google Scholar

Copyright information

© Springer Nature Switzerland AG 2020

Authors and Affiliations

  1. 1.Department of Civil Engineering (DICIV)Università degli Studi di SalernoFiscianoItaly

Personalised recommendations