Synergia w procesie projektowym - współcześnie stosowane narzędzia w zapisie i realizacji idei projektowej

Katarzyna Słuchocka, Borys Siewczyński, Jan Szot

doi:10.37190/arc230412

Streszczenie

W artykule poruszono problem wykorzystania manualnego zapisu graficznego oraz zapisu multimedialnego w procesie percepcji przestrzeni architektonicznych, celem poszukiwania narzędzi mogących zoptymalizować procesy projektowania architektury i urbanistyki. W materiale odniesiono się do badań prowadzonych metodą analizy porównawczej, indywidualnych przypadków (case study) z użyciem metody heurystycznej. Analizie poddano wybrane zestawy interpretacji graficznej, rysunkowej i malarskiej oraz zapisów o charakterze ścieżek filmowych, chcąc ocenić wartość merytoryczną stosowanej metody przy określaniu charakteru danej przestrzeni i stopnia jej rozpoznania. Równoległe stosowanie obu narzędzi przyczyniło się do poszerzenia pola badawczego i pogłębienia diagnozy rozpoznawanych przestrzeni. Podjęte badania wykazały celowość komplementarnego wykorzystywania metod poznawczych opierających się na wzajemnym transferze rysunku i technik multimedialnych, mogących stanowić skuteczne narzędzie optymalizacji w pracy twórczej i projektowej. Dualistyczny sposób podejścia do zagadnienia dał potwierdzenie, że synergia działania skutkować może poszerzoną analizą przestrzeni, rozwojem wyobraźni i umiejętności posługiwania się nowymi środkami wyrazu, w konsekwencji interesującymi w formie artykulacjami plastycznymi oraz multimedialnymi.

Słowa kluczowe:
zapis graficzny
multimedia
synergia projektowa

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2023

4(76)

Katarzyna Słuchocka*, Borys Siewczyński**, Jan Szot***

Synergy in the design process

– contemporary tools used in the recording and implementation

of the design idea

Introduction

The architectural design process, which ends with

a construction, begins with a stage of idea formation that

in turn has its origin in the realm of imagination. The spe-

cic environment of creation makes it possible to move

freely in areas closely related to design, allowing the

proper arrangement of space with respect to the existing

context. It is the basic element responsible for the quality,

character and eect of each design phase. At the stage of

shaping the idea, tools are used that are often far from

the analog form of the concept sketch, and often combine

various means of artistic expression, thereby enriching

the toolbox and expanding the range of possibilities for

verifying the records. An important aspect is also the

deepening and broadening of imagination itself, occurring

with the participation of multisensory perception of space

and openness to the freedom of message creation. In or-

der to test the above-mentioned relations, an attempt was

made to study them on an experimental basis, based on

the semester topics introduced in 2020–2022 to the cur-

riculum of the Faculty of Architecture of Poznan Univer-

sity of Technology in the subjects Drawing – methods of

architectural presentation and Multimedia II, based on the

use of two paths of perception of selected architectural

spaces: analogue media (drawing, graphics, painting) and

digital notation (lm track). The article presents chrono-

logically the process of the experiment, the essence of

which was to obtain comprehensive information about

the “site” as a basis for formulating correct design conclu-

sions and successful implementation. The various stages

of the process, from the initial assumptions to the results,

are described, highlighting in particular the quality of the

materials obtained and the value of the message.

Related research

Modern methods for optimizing design processes are

based on elements conventionally used in representations

of architectural ideas. These include techniques such as

pencil, pen, watercolor, crayon or mixed techniques. In

addition, designers and students of architecture are reach-

ing for newer and newer ways to make their work easier

or speed up the eect of their actions. For this, they use

digital tools that oer the possibility of exploring space in

2D and 3D. The implementation of new methods of archi-

tectural installation used in research is addressed by Arka-

diusz Polewka and Agnieszka Lamprecht [1], discussing

a case study of modeling and simulation of E3 architec-

tural installation and the use of architectural installation

as a teaching tool in experiencing real space. On the rela-

tionship of perception and interpretation in relation to the

comprehension of reality, valuable material can be found

in the publication by Jean-Jacques Wunenburger Philoso-

phie des images [The Phi losophy of Images] [2]. Polewka

also comments on the signicance of drawing and model,

treating both as essential ways of presenting an architec-

tural work [3]. Also in her article, Katarzyna Słuchocka

addressed the problem of supporting thought processes,

deepening, developing imagination and consciousness in

relation to teaching and design experiences on the basis of

interpretive autonomy, implying unconventional solutions

DOI: 10.37190/arc230412

Published in open access. CC BY NC ND license

* ORCID: 0000-0002-0492-2761. Faculty of Architecture, Po-

znan University of Technology, Poland, e-mail: katarzyna.sluchocka@

put.poznan.pl

** ORCID: 0000-0003-0192-7003. Faculty of Architecture, Po-

znan University of Technology, Poland.

*** ORCID: 0000-0003-0718-7560. Faculty of Architecture, Po-

znan University of Technology, Poland.

128 Katarzyna Słuchocka, Borys Siewczyński, Jan Szot

aecting the enhancement of creativity [4]. Enriched by

experience, the interdisciplinarity of the activities carried

out manifests itself as a manifesto of independent think-

ing and creative expressions, while being a source of ed-

ucational experience and a factor optimizing teaching and

design processes. In the article Architecture drawings. Ar-

chi tect’s archive, Stanisław Wojtkiewicz attempts to pre-

sent architectural drawing as an important element in the

process of architectural design, saying that Drawn Archi-

tecture denes the grammatical syntax of building real

architecture [5, p. 72]. In the study Rysunek architekto

niczny w praktyce, czyli jak patrzeć ze zrozumieniem [Ar-

chitectural drawing in practice, or how to look with under-

standing], Mirosław Orzechowski addresses theoretical

and practical issues related to drawing, while emphasiz-

ing the relevance of drawing as a component of creative

thinking processes and a tool for illustrating space [6].

The topic of the essence of drawing records in the course

of design processes also appears in the article Drawing

– the autograph of spatial sensitivity showing that this

tool, in addition to the value of analytical activity, is addi-

tionally important in communication between the investor

and the designer, and also as a documentary material and

a means of artistic expression at the same time [7]. Maria

Żychowska [8] also talks about the essence and need for

visual arts activities in the curriculum of the technical sci-

ences area. Michał Suczyński deals with the function of

structural drawing in architectural work, which is meant

to serve as a way of depicting space according to the laws

of vision and painterly perspective. He draws attention to

the consideration of both the external aspects of the de-

picted objects and their spatial relationships [9].

Another form of recording and transmitting informa-

tion about the surrounding space is the art of photography

and lm, which, by its uniqueness in terms of recording

reality, can make a signicant contribution to the recog-

nition of a place, not only visually, but also sonically or

in terms of recording phenomena occurring over time. At

the same time – in addition to chronicling accuracy and

objectivity – these arts, properly applied, can be a creative

way to search for meanings and impressions of the space

being explored. These issues can be found in the work of

Krzysztof Groń [10], who emphasizes the role of photog-

raphy in the visual arts and in architecture. The author

points out the wide range of content and richness of intel-

lectual meanings conveyed in the registered images, em-

phasizing the documentary and inspirational signicance

for his own creative explorations. It is worth comparing

the above statements to the thoughts contained in the study

Szkicownik achitekta [Sketchbook of an architect] by Ewa

Pruska. This author points out that […] [a sketchbook]

is a silent thinking about things in which the architect is

interested, […] a sketchbook becomes a diary of time,

things,

people, it is a mirror, a reection of personality,

temperament. It is a set of ideas, interests, reminders [11,

p. 114]. This comparison gives rise to the compatibility

of the two tools photographic and drawing in the context

of author’s notes and holistic site search. The importance

of author’s notes – in the context of the need for in-depth

site exploration – is also the basis for design activities for

Marian Fikus [12], [13]. Orzechowski [14] draws inter-

esting conclusions with regard to the didactic experiment

described in this article, maintaining that the synergy of

the arts is advisable in the processes of in-depth recogni-

tion of issues and drawing accurate design proposals, also

with a special focus on didactic practice. The topic of the

holistic and dynamic nature of place is also addressed by

Angelika Lasiewicz-Sych [15]. In the collective mono-

graph edited by Orzechowski, we also nd representations

of architectural spaces by well-known designers, which

prove the high quality of artistic technique that translates

directly into spatial thinking in the design context [16].

The dynamics of place as a complex of phenomena of

individual and group actions, experiences, environmen-

tal location is described by David Seamon [17]. In this

context, the choice of lm, a multimedia tool that oers

a dynamic, reliable, and at the same time individualized,

artistic approach to place as a unique phenomenon, seems

to be an apt choice for conducting research work. Jerzy

Kaczmarek [18] points out similar qualities of lm. In the

“Invisible City” project he describes, he emphasizes the

role of lm as a medium that allows us to show and re-

cord emotions, the broader context of the situation and

occurring processes (events), enabling a more complete

illustration of the space complemented by sound impres-

sions. The author uses the name “lm note”, indicating

its usefulness in didactic processes. The usefulness and

benecial impact on the teaching process in the context

of integrated arts education is also discussed by Xiaodong

Sun et al. [19]. They point to the positive impact of mul-

timedia on the attitude to the tasks performed, satisfac-

tion with their performance, and the opportunities arising

from the use of technical media in distance learning. The

benecial translation of the preparation of lm elabora-

tions by students on the quality of the didactic process in

the eld of architecture in the context of artistic, substan-

tive and historical recognition is also indicated by Borys

Siewczyński [20]. His publication also presents aspects

of the student’s interdisciplinary development in the eld

of lm technique and art and contemporary digital work-

shop. The tool of lm as a medium for recording space

and phenomena over time can also be useful, according to

the position of Augustyn Bańka [21], who argues that in

architectural design it is necessary to record the environ-

ment to allow an in-depth understanding of a place, and

that it is necessary to study human interactions with the

environment consisting of such components as elements

of physical form, environmental factors, and the state of

individual elements at a given time.

Research method

Conducted in 2020–2022 as part of the didactic class-

es at the Faculty of Architecture at Poznan University of

Technology, in the subjects: Drawing – methods of archi-

tectural presentation and Multimedia II, our research was

intended to help nd answers to the questions of whether

the mutual transfer of drawing and multimedia techniques

can be indicated as an eective tool for optimization in

creative and design work, and whether there is a synergy

Synergy in the design process 129

eect of the arts. The planned didactic experiment consist-

ed of a parallel approach to the issue of recognizing and

recording a given place by means of plastic and multime-

dia performance techniques. The painting and multimedia

classes were conducted in parallel, and the starting point

of the joint activities was the assumption that lm/multi-

media analysis and painting, that is, plastic and impression

analysis are research tools. The idea of the whole, planted

on the simultaneous execution of both studies, was a kind

of experiment, the initial thesis of which was based on the

claim that the use of two dierent work paths can lead to

a more comprehensive understanding and perception of

space, implying a synergistic eect.

Drawing, painting, graphics

The part of the study focused on visual arts activities

concerned the notation of space using the methods of:

study and comparative analysis of selected cases, obser-

vation and sensory perception. A group of third-year full-

time students had a choice of an architectural object or its

fragment, an architectural interior or any detail, character-

istic of a particular type of space. After the eld reconnais-

sance, individual decision and determination of the given

research topic as corresponding to the problem of the study

task, the next stage of work included the so-called detailed

tasks. These included conceptual sketches of the observed

spatial phenomenon involving analysis and autopsy re-

cording of the perceived reality in relation to the context,

taking into account important compositional assumptions

(structure, proportion, rhythm, perspective). The initial

phase of the interpretation process consisted in the search

for a drawing or painting denition of the selected space,

using an appropriate technique designed to emphasize

the meaning of plastic articulation. Particular attention

had to be paid to the selection of original compositional

solutions (shots, frames) for the author’s forms of artistic

expression, which were to lead to the implementation of

a series of thematically and qualitatively related works.

Regardless of the type of means of expression used, all

the depicted spaces were united by a common denomina-

tor, i.e. the goal of the research, which was to capture the

existing spatial situation with its various features in the

most illustrative and meaningful way possible. It should

be noted that the selection of spaces to be the subject of

the study was based on personal motives, largely relat-

ed to sensory experience of the space, implying positive

or negative perception and message. In the end, the de-

ned spaces were the author’s sets of images constituting

a kind of external characteristics of a given place, dened

by means of a technique chosen to enhance the merit of

the message. Consistent in expression and composition,

the sets of works were distinguished by the colour scheme

adopted, the technique and the format of the works select-

ed for it, as well as the starting material on which they

were worked. Depending on this, cycles were created

consisting of a varying number of paintings – from sev-

eral to a dozen. The most common elaboration techniques

used during the process of interpreting a space were pen-

cil drawing, crayon, brush, acrylic painting, watercolor,

ink, digital graphics, and a mixed technique combining

elaboration with classical methods of artistic expression

and digital tools. Focal points that students focused on

while working on a given characteristic of a space were

its general atmosphere, technical condition, external and

articial lighting, connection to the context, as well as the

function and form of the whole.

Multimedia

The lm assignment was developed in the course of

Multimedia II classes. The goal of the class was to pre-

pare a short lm etude depicting a space, interior or set of

interiors selected by the students, coherent visually and

conceptually. Lasting about two minutes, the lm, made

with the use of image, sound, music, interior dynamics,

time sequence, was to be a coherent interpretation made

on the basis of impressions made during a visit to an ar-

chitectural object. It was assumed that too long a form

could make it dicult to achieve a synthetic and succinct

message, while the number of technical issues in devel-

oping a longer etude could take away valuable time in the

semester that could be spent on substantive and architec-

tural issues. Specic conditions for the work and detailed

tasks were set before the class participants. The basis was

the author’s lm and sound notes of the studied space.

From this material the nal study had to be created. The

most important issue was to emphasize and convey the

personal feeling associated with the interior, while the

form of the lm presentation should emphasize the indi-

vidualized perception. Thus, an eort was made to give

the character of an author’s note to the work being devel-

oped. To this end, it was necessary to record, elaborate

and creatively show selected, observed spatial, light and

plastic eects. Students were encouraged to study the ob-

jects in a variety of situations of dynamically functioning

spaces, at dierent times of the day, under varying condi-

tions of use. Students were expected to capture the mood

of the interiors with the help of lm media, report on the

character of the space, observed characteristic elements

of the space. In retrospect, it should be noted that it was

extremely valuable and inspiring during the creation of

lm studies to nd an aspect of the space in which the

student is personally interested, which contributed to

emotional involvement, deeper analysis and, as a result,

more successful works. Students were required to create

their lm studies using multimedia means of expression

– image and sound. In the sound layer, the use of sounds

recorded in the environment was preferred. It was allowed

to supplement the lm track with sound eects download-

ed from publicly available Internet sources. Students also

returned to the research site to make further recordings if

the previous ones did not meet expectations – either for

technical reasons or fortuitous reasons (the recording of

the material took place in eld conditions). Sound pro-

cessing with the available editing tools was also allowed.

The lm could be illustrated with selected music empha-

sizing the character of the space shown. In terms of lm

technique, only one’s own photographs resulting from

author’s eld studies could be used. Archival footage was

130 Katarzyna Słuchocka, Borys Siewczyński, Jan Szot

allowed as an exception. The footage could be edited by

introducing visual eects included in image processing

programs. It was interesting to explore the use of current-

ly unused cinematography techniques, such as VHS. Tra-

ditional lm was not experimented with, remaining with

digital recording for practical reasons. Finished lms had

to be saved in FullHD format (1920/1080, 24–30 frames

per second, 16:9). In certain justied cases (VHS), other

aspect ratios were allowed. No restrictions were placed on

the editing, video and audio processing software used. It

was suggested that students use the open source program

ShotCut to allow access to the software regardless of nan-

cial resources. It should be noted here that the use of the

university’s computer labs was hampered due to the ongo-

ing online teaching at the time. The semester’s work after

selecting the space – the research issue – began with going

to the eld and making the rst sound and video record-

ings. During the revision, the concept of the lm was dis-

cussed, along with intriguing phenomena observed in the

space, and the choice of further study and exploration was

made, directing the work towards a lm etude. After deter-

mining the further path of exploration, as a rule, repeated

eld studies followed. The next steps were to start editing,

developing and synchronizing soundtracks with the image,

adding visual eects, artistic and typographic development

of the lm’s subtitles. The progress of the work performed

simultaneously in the classes: Drawing – methods of ar-

chitectural presentation and Multimedia II was discussed

with the instructors through individual consultations in the

technical and artistic elds. At the same time, the discus-

sion of works in the wider student group was undertaken

on issues that required such consultations. This procedure

made it possible to initiate discussions in the forum, also

providing an incentive for constructive criticism and joint

work. There were also simultaneous consultations on both

art and lm works with the participation of the instructors

of both subjects. The resulting images made using tradi-

tional techniques were also integrated into the visual layer

of the lm, in case the author’s idea required it. As a result

of the work carried out, more than a dozen lm shorts were

created with the set technical parameters describing the

studied spaces in an authorial, individualized and sensitive

way, along with artworks complementary to them in ex-

pression. The two-pronged task generated complementary

sets constituting authorial stories about the selected spaces.

Results

The works presented below are examples that are the

outcomes of the conducted research experiment related to

the selected task and presenting the results of activities in

the eld of drawing, painting and graphic arts and multi-

media. Of the 16 sets of works (sets of elaborations in the

eld of drawing, painting, graphics, mixed technique and

multimedia), the article presents in detail the works of two

authors. The choice was determined by the most eloquent

character of the works, the degree of adequacy of captur-

ing the characteristic features of the analyzed spaces and

the quality of execution (N. Dulowska, A. Piwowarek). In

the aspect of the diversity of representations and a proper

approach to the subject taken up, the juxtaposition of the

next three eects of implementation was also additional-

ly referred to (A. Chodzyńska, P. Dubińska, M. Grześko-

wiak). The selected examples presented a high level of

elaboration and a good use of means of artistic expression,

emphasizing the main objectives of the author.

The rst of the selected works is an interpretation of

the modernist building “Okrąglak” located in the center

of Poznań (14 Mielżyńskiego Street, at the corner of 27

Grudnia Street), designed by Marek Leykam and con-

structed in 1948–1954. For more than 50 years it served

as a department store, later transformed into an oce and

service building. Its characteristic form resembling a tube

provided a reason for taking up the subject and creating

a story to illustrate the prevailing atmosphere inside. The

dynamic composition of the graphic works was to be asso-

ciated with a whirling movement (behind the shape of the

projection and the peculiar character of the object’s inte-

rior), at the same time recalling the silhouette of a dancer

in motion (Fig. 1). The contrasts used were to illustrate

Fig. 1. Plastic interpretation of architectural space (former department store “Okrąglak”, Poznań), technique: digital graphics

(by A. Piwowarek)

Il. 1. Plastyczna interpretacja przestrzeni architektonicznej (były dom towarowy “Okrąglak”, Poznań), technika: grafika cyfrowa

(rys. A. Piwowarek)

a cb

Synergy in the design process 131

the varied sounds of the music, which is the soundtrack of

the lm. In the lm presentation, the author used dynamic

shots, rotating camera movement and close-ups along the

inner axis of the building in order to highlight the charac-

ter of the interior, the concentration of light under the ga-

ble section, the dynamics of the movement of users head-

ing up the fan-shaped staircase (Fig. 2). The varying pace

of the shots, the acceleration of movement emphasize the

spiral architectural forms that enrich the recorded interior.

The author also implemented selected frames of artworks

in an interesting way, incorporating them in key moments

of the lm etude. The whole was complemented by frames

showing selected materials used in the facility, as well as

contrast and brightness eects of individual shots, which

harmonized with the set of artworks. The lm is illustrat-

ed by dynamic, intense music aptly matched to the visual

expression and mood of the visual layer.

Another example of interpreting space is a photographic

collage made on the basis of a photo register and a work

realized in acrylic technique on cardboard. The analyzed

space is the headquarters of the Faculty of Architecture and

Faculty of Management Engineering of Poznan University

of Technology (proj. by S. Rosolski, 2019) (Fig. 3a–c).

The dynamism evident in the works was related to the

observed play of light and shadow, which pours phenom-

enal streaks of light into the cold interior of the facility’s

lobby, creating an unreal atmosphere, contrasted with the

strong expressive character of the entire architectural es-

tablishment. The same idea can be seen both in the digital

representation and in the painting work, in which the ef-

fect of movement was further enhanced by a strong linear

painting gesture.

In the multimedia study (Fig. 4), the author focused on

showing the geometric, contemporary and contrasting na-

ture of space, working with calm camera movement, dy-

namic depth of eld. The student showed the repetition of

observable spatial patterns

on both macro and micro scales,

interweaving them in the lm’s timeline. The aforemen-

tioned deliberate use of depth-of-eld adjustments allowed

the author to convey the time-varying, consistent character

of the interior, ranging from detail to large-scale construc-

tion, from the massiveness of the façade walls to the games

of reections in the glass panes. It employed a non-simul-

taneous though complementary type of interior perception.

The movement of the camera makes it possible to show

the dynamics of changes in the play of light on dierent

planes, illusion eects, mirrored reections, anisotropy

and smoothness of nishing materials. The unity of the di-

verse scale is complemented by the change of shots linked

to the rhythm of the music.

It is worth mentioning that across the entire group of

students, the dualistic approach to the subject expanded the

research area and enriched the spectrum of tools they used.

An intensication of cognitive abilities characterized by

greater attention to important details of the place, great-

er attentiveness and sensitivity to the surrounding reality

could be observed among the participants of the didactic

classes. The two-pronged work conducted by the students

provoked them to further exploration and research. They

activated the mutually supporting senses, expanding the

stock of insights and research materials. The students’

drawing, painting, graphic design and multimedia action

skills were developed to a denite degree. Situational re-

connaissance taking place with the eective use of new

research and creative methods and tools contributed to the

creation of parallel artistic works, while implying the de-

velopment of artistic and design personality.

The juxtaposition of images shown in Figure 5, con-

sisting of a compilation of works from drawing, painting,

printmaking along with frames from lms made by se-

lected authors, presents a dualistic way of perceiving the

reality under analysis, while bearing evidence to the com-

plementary actions and transfer of techniques.

Conclusions

Based on the analysis and examples of work presented

above, the following conclusions can be proposed:

1. The simultaneous use of two paths of work – lm

and drawing/painting to analyze space has allowed a more

in-depth understanding of it.

2. The simultaneous depiction of space in the form of

static and dynamic analysis has expanded the scope of its

cognition.

3. The use of drawing/painting tools has inuenced the

better recognition of the plastic layer, the quality of the

plastic message, the complementarity of the image layer

in the multimedia work.

4. The use of lm/lm tools realizing the richness of the

sensations felt and the possibilities of perception inuenced

Fig. 2. A frame from the film

“Overandover” which is

a cinematic, dynamic note from

the “Okrąglak” building

in Poznań (by A. Piwowarek)

Il. 2. Kadr z filmu

“Overandover” będący filmową

dynamiczną notatką z budynku

“Okrąglak” w Poznaniu

(aut. A. Piwowarek)

a b

132 Katarzyna Słuchocka, Borys Siewczyński, Jan Szot

the attempt to represent them in the form of a painting

work.

5. The simultaneous use both paths of work contributed

to the discovery of new aspects of the studied spaces.

Conclusions

Research carried out in a parallel manner within the

framework of teaching classes at the Faculty of Architec-

ture of Poznan University of Technology in the subjects:

Drawing – methods of architectural presentation and

Multimedia II in 2020–2022 showed that it is possible to

mutually transfer drawing and multimedia techniques as

an eective tool for optimization in creative and design

work. The dualistic approach to the issue gives conr-

mation that the synergy of action in the area of drawing,

painting, printmaking and mixed techniques, as well as

the area of lm-making (multimedia) results in a deeper

analysis of space, the development of imagination and the

ability to use new means of expression, and ultimately art

and multimedia works that are interesting in form. The

use of manual recording and multimedia recording in the

process of perception of architectural spaces enriches the

toolkit for optimizing the design processes of architec-

ture and urbanism. The methods employed in the study

(the method of comparison, individual cases, the heuristic

method) used in the analysis of selected sets of graphic,

drawing and painting interpretation and multimedia re-

cords (lm tracks) had a positive eect, supporting the

denition of the character of a given space and deepening

the degree of its recognition, providing conrmation of

their choice as research tools.

Fig. 3. Artistic interpretation of architectural space:

a, b) lobby of the building of the Faculty of Architecture and Faculty of Management Engineering of Poznan University of Technology,

technique: digital graphics (by N. Dulowska),

c) painting work depicting sun rays falling into the interior of this lobby, technique: acrylic on cardboard (by N. Dulowska)

Il. 3. Plastyczna interpretacja przestrzeni architektonicznej:

a, b) hol budynku Wydziału Architektury i Wydziału Inżynierii Zarządzania Politechniki Poznańskiej,

technika: grafika cyfrowa (rys. N. Dulowska),

c) praca malarska obrazująca wpadające promienie słońca do wnętrza tego holu,

technika: akryl na kartonie (rys. N. Dulowska)

Fig. 4. Selected shots from the film etude “Contrasts” made as part of the multimedia II course:

a) a frame from one of the sequences showing an architectural detail in the main lobby of the building

of the Faculty of Architecture and Faculty of Management Engineering of Poznan University of Technology,

b) contrasting geometric forms of the large-scale canopy in the film note (by N. Dulowska)

Il. 4. Wybrane ujęcia z etiudy filmowej “Kontrasty” wykonanej w ramach zajęć z przedmiotu multimedia II:

a) kadr z jednej z sekwencji ukazujących detal architektoniczny w holu głównym

budynku Wydziału Architektury i Wydziału Inżynierii Zarządzania Politechniki Poznańskiej,

b) kontrastowe, geometryczne formy wielkoprzestrzennego zadaszenia w notatce filmowej (aut. N. Dulowska)

a b

b c

Synergy in the design process 133

Fig. 5. Exemplary art and film works – collages being a juxtaposition of complementary drawing boards and frames

from film shorts made by individual authors interpreting the studied space:

a) M. Grześkowiak, b) A. Piwowarek, c) P. Dubińska, d) A. Chodzyńska

Il. 5. Przykładowe prace plastyczne i filmowe – kolaże będące zestawieniem komplementarnych plansz rysunkowych

i kadrów z etiud filmowych wykonanych przez poszczególnych autorów interpretujących badaną przestrzeń:

a) M. Grześkowiak, b) A. Piwowarek, c) P. Dubińska, d) A. Chodzyńska

b d

It can be considered that the parallel use of both paths

of work contributes to broadening the eld of research

and deepening the diagnosis of model spaces. The use

of a combined cognitive method, based on the mutual

transfer of drawing and multimedia techniques, indi-

cates that it can be considered an eective tool for opti-

mization in teaching, creative and design work.

Proposals for further research

In order to conrm the eectiveness of the method

of combining the paths of work from the area of ne

arts and multimedia, it is advisable to conduct further

studies that would help to identify and check how the

separate way of implementing the same topic will trans-

late into the quality of works in drawing/painting and

multimedia. Conducting a comparative analysis of the

results of studies obtained from works carried out in

a two-track manner and through separate paths could

solidify the results of the research. Attempts to objec-

tively analyze the results of work on separate tracks and

determine the evaluation criteria would conrm wheth-

er the transfer of drawing and multimedia techniques is

indeed an eective way and whether the synergy of the

arts is an important factor for optimization in creative

and design work.

134 Katarzyna Słuchocka, Borys Siewczyński, Jan Szot

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References

Abstract

Synergy in the design process – contemporary tools used in the recording and implementation of the design idea

The article presents the problem of using manual graphic recording and multimedia recording in the process of perception of architectural spaces,

with the aim of searching for tools that can optimize the design processes of architecture and urbanism. The material refers to the research conducted

by comparative analysis, individual cases (case study) using the heuristic method. Selected sets of graphic, drawing and painting interpretations, as

well as records in the nature of lm tracks, were analyzed in an eort to assess the merit of the method used in determining the character of a given

space and the degree of its recognition. The simultaneous use of both tools contributed to broadening the research eld and deepening the diagnosis

of the spaces recognized by the students. The research undertaken showed the advisability of using a combined cognitive method, based on the mutual

transfer of drawing and multimedia techniques, which can be an eective tool for optimization in creative and design work. The dualistic way of

approaching the issue gave conrmation that the synergy of action can result in an expanded analysis of space, the development of imagination and

the ability to use new means of expression, consequently forming interesting plastic and multimedia articulations.

Key words: graphical record, multimedia, design synergy

Streszczenie

Synergia w procesie projektowym – współcześnie stosowane narzędzia w zapisie i realizacji idei projektowej

W artykule poruszono problem wykorzystania manualnego zapisu gracznego oraz zapisu multimedialnego w procesie percepcji przestrzeni ar-

chitektonicznych, celem poszukiwania narzędzi mogących zoptymalizować procesy projektowania architektury i urbanistyki. W materiale odniesio-

no się do badań prowadzonych metodą analizy porównawczej, indywidualnych przypadków (case study) z użyciem metody heurystycznej. Analizie

poddano wybrane zestawy interpretacji gracznej, rysunkowej i malarskiej oraz zapisów o charakterze ścieżek lmowych, chcąc ocenić wartość

merytoryczną stosowanej metody przy określaniu charakteru danej przestrzeni i stopnia jej rozpoznania. Równoległe stosowanie obu narzędzi przy-

czyniło się do poszerzenia pola badawczego i pogłębienia diagnozy rozpoznawanych przestrzeni. Podjęte badania wykazały celowość komplemen-

tarnego wykorzystywania metod poznawczych opierających się na wzajemnym transferze rysunku i technik multimedialnych, mogących stanowić

skuteczne narzędzie optymalizacji w pracy twórczej i projektowej. Dualistyczny sposób podejścia do zagadnienia dał potwierdzenie, że synergia

działania skutkować może poszerzoną analizą przestrzeni, rozwojem wyobraźni i umiejętności posługiwania się nowymi środkami wyrazu, w kon-

sekwencji interesującymi w formie artykulacjami plastycznymi oraz multimedialnymi.

Słowa kluczowe: zapis graczny, multimedia, synergia projektowa