The Graphic Language as a Hybridization of Art, Thought, and Technique
DOI:
https://doi.org/10.26375/disegno.16.2025.11Abstract
Drawing has always stood out as one of the main tools of communication, capable of expressing mental or real images instinctively or through codified systems, by means of lines and marks. Beyond being a document that conveys information about the depicted object, it is also a source of insight into the style, personality of the author, and the time and place in which they operated. [read more]
References
Ackerman, J.S. (2003). Architettura e disegno. La rappresentazione da Vitruvio a Gehry. Milano: Electa.
Banham, R. (1986). A Concrete Atlantis. U. S. Industrial Building and European Modern Architecture. Cambridge-London: The MIT Press.
Benevolo, L. (2002). Storia dell’Architettura moderna. Bari: Laterza.
Breuer, M. (1926). Ein bauhaus-film. In Bauhaus, n. 1, p. 3.
Bury, S. (2009). ’Not to adorn life but to organize it’: Veshch, Gegenstand, Objet: Revue internationale de l’art moderne (1922) and G (1923-26). In P. Brooker (ed.). The Oxford Critical and Cultural History of Modernist Magazines, Vol. III, Part 2, pp. 861-867.
Colomina, B. (2012). Little Magazines: Portable Utopia. In AA. VV. The Small Utopia: Ars Multiplicata. Milano: Fondazione Prada, pp. 199-209.
Fabre, G.C. (1982). The Modern Spirit in Figurative Painting: From Modernist Iconography to a Modernist Conception of the Work of Art. In Léger et l’esprit moderne. Une alternative d’avant-garde à l’art non-objectif (1918-1931). Paris: MIAM, pp. 99-100.
Fanelli, G. (2009). Storia della fotografia di architettura. Roma: Laterza.
Frampton, K. (1986). Storia dell’architettura moderna. Second edition. Bologna: Zanichelli editore.
Francastel, P. (1957). Lo spazio figurativo dal Rinascimento al Cubismo. Torino: Einaudi.
Gruppo μ. (2007). Trattato del segno visivo. Per una retorica dell’immagine. T. Migliore (a cura di). Milano: Mondadori.
Mertins, D. (2010). Architecture, Worldview and World Image in G. In D. Mertins, M.W. Jennings (eds.). G: An Avant-Garde Journal of Art, Architecture, Design, and Film, 1923-1926. Los Angeles: Getty Research Institute, pp. 71-99.
Panofsky, E. (1961). La prospettiva come “forma simbolica”. Milano: Feltrinelli.
Pastoureau, M. (2012). Bestiari del Medioevo. Torino: Einaudi.
Piscitelli, M. (2024). Il linguaggio grafico moderno nelle riviste di architettura. DADI Press.
Poggi, C. (1992). In Defiance of Painting: Cubism, Futurism, and the Invention of Collage. New Haven: Yale University.
Shanken, A.M. (2009). 194X: Architecture, Planning, and Consumer Culture on the American Home Front. Minneapolis: University of Minnesota Press.
Stockel, G. (2007). Fotografia come fatto mentale. Guardare vedere fotografare. Roma: Edizioni Kappa.
Waldman, D. (1992). Collage, Assemblage, and the Found Object. New York: Harry N. Abrams.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 diségno
This work is licensed under a Creative Commons Attribution 4.0 International License.
