Basic principles of architectural painting

As a science, architecture, like other modern natural sciences, originated in Europe. Therefore, the research on the development history of architectural painting must also start from the west. Architectural painting has experienced a development process from scratch and ups and downs, which embodies the following basic laws: in the late Middle Ages, painters in the early Italian Renaissance played the most crucial role in the formation of architectural painting. Medieval paintings are flat and have no perspective effect. Ghiotto (1267-1336) introduced the depth of perspective into religious painting. Chioto, who is both a painter and an architect, not only added architectural modeling to his paintings, but also the architectural space modeling in his paintings was later reflected in the architectural design of Renaissance architects such as brunelleschi and Alberti.

Da Vinci (1452- 15 19) was very interested in perspective and its potential. He studied Albert's single-line perspective earlier, but soon discovered the problem of this painting. First of all, it can't reflect the different visual texture of materials with distance; Secondly, the image it gives people is limited to one viewpoint, which destroys the overall sense and spatial proportion of the building. Although he didn't systematically leave a discussion on perspective, his architectural paintings obviously tend to be a new painting method combining bird's eye view with anatomy. During the Renaissance, the human body and architecture were considered to be interlinked. Leonardo da Vinci, who was good at human anatomy, naturally used human anatomy to draw buildings. In the process of architectural design, the anatomical map can show the structural organization of space and volume, and the bird's eye view can show the complete form. The combination of bird's eye view and anatomy forms an architectural idea, that is, the architectural design and structural design are combined into a whole in three-dimensional space.

This kind of painting is only used in the design process, not the final performance. Because although it improves the designer's design freedom and space grasping ability, its proportion is not high, and it can't reflect the scale without adding characters. For workers, it is neither size nor easy to understand. This diagram is similar to the oblique side view that is common today.

Blemonte (1444- 15 14) was a key figure in perspective innovation during the Renaissance. He thinks that the advantages and disadvantages of painters and architects can be combined. He advocates that painting should be as accurate and perfect as architecture, and architecture should have a good visual image like painting, which is the re-expression of painting. He created an "illustration" angle to show the ideal architectural image. Illustration not only contains examples of ancient architecture, but also combines practice and creation with one's own invention and imagination. Blemonte also uses bird's-eye view to express architecture, which is the most suitable method to express the interior space of the nave-style building. By cutting the building space, the sectional view is introduced into the perspective view. This method is suitable for representing a single whole space-this space can be understood at a glance. For complex space, it will overlap on the map and weaken the expressive force. When the classicist Raphael (1483- 1520) became the architect of St. Peter's Church in Rome, he took another step towards the systematization of architectural drawing. First of all, he divided the basic architectural drawings into three categories: plane, elevation and section, and abandoned the central perspective, indicating that the buildings he advocated should be a whole embodiment, not a picture seen from a viewpoint. Blemonte pulled the viewpoint far away, and Raphael put the viewpoint in the building. His picture is not from one viewpoint, but from many angles, forming an image between the elevation and perspective. This not only shows the volume of the space, but also shows the detailed carving of the wall. He made the painter seem to be in a three-dimensional space and realized the overall image of the space.

Perrusi's architectural painting (1481-1536) also has the same multi-viewpoint effect. In his painting "Saint Peter perfect angle", the plane, elevation and section are integrated. Although it expresses the impression of space, it does not describe the real face of the internal space, nor does it provide the correct size of the building, but it organically links the plane, the external space and the internal space, and to some extent inherits Leonardo da Vinci's thought.

From the architectural performance of this period, we can see that vertical section and perspective are produced at the same time, and they are both a means to express design ideas through diagrams. Until the18th century, perspective and longitudinal sections often appeared in one picture.

Raphael's paintings prove that the combination of perspective and elevation has not weakened the charm of the scenery. From the beginning, perspective theory was combined with the principles of geometric vision and proportional mathematics. The relationship between the observer and the observed building is also the key issue of perspective. Although the perspective painting at this time is very different from today's perspective painting, it shows that the architects at that time paid attention to the deep relationship between architectural painting and architecture: the authenticity of architectural painting.

Michelangelo (1475- 1564) opposed all the ideas of the Renaissance and innovated the architectural language. His paintings reflect a new interpretation of architectural space: architecture is a living structure. He likes to use models to study architecture, ignoring complete architectural drawings and workers' construction drawings. He constantly revised the design during the construction process, because there was no architectural painting as the final plan of architectural design at this time. Michelangelo also set another precedent: his architectural painting itself was regarded as an art collection, which began when he was alive.

In 1930s of 15, the vertical section was paid attention to again, and the division between architects and artists began to appear, although the real professional architects did not form until 19 century. Perspective and "semi-"perspective always coexist with vertical section.

/kloc-In the 6th century, copperplate printing replaced woodcut, which became another revolution in the history of printing and promoted the development of the architectural publishing industry. Ardrea Palladio is considered as the first professional architect in history, and he published the influential book Architectural French. Like other classical architects, he thinks that to accurately express the relationship between the scale and details of the building and the whole, only vertical sections can be used. The illustrations in his paintings and books have no perspective, and the depth of space is represented by cross sections and shadows. The illustrations in the book are about his own design works, but he did not draw them strictly according to the actual architectural works. Either the size has changed or the form has changed. This book is about what he hopes to achieve, not what he can achieve. His architectural intention is inevitably limited by cost, site, craftsmen, time and other conditions. Without these drawings, Partio thinks that architectural painting is a way to convey the architect's intention, and sometimes it is more valuable than the building itself. Bernini (1598- 1680) is an Italian baroque architect. He is both a painter and a sculptor. He is famous in sculpture, and his basic training begins with sculpture. His sculptures are based on the idea that works often work best from a certain angle. This viewpoint-based design has also been brought into his architectural design and painting. The purpose of his perspective is to have a strong impression on a certain point of view. In order to achieve this effect, he always draws a lot of research sketches. His building fa? ade also tends to be perspective, such as the design of the east fa? ade of the Louvre in Paris. Compared with classicism represented by Palladio, Baroque architecture based on visual image may be more suitable to study its real space and light and shadow effect from the perspective.

Italian baroque architects have made great contributions to the development of perspective. For example, increase vanishing points, increase object levels and contrast between light and shade. However, in the17th century, the debate about which is worse, perspective view or plane elevation view, has not been concluded. Architect Modenot (1556- 1629) presented the revised west facade of St. Peter's Church to the Pope. This design is represented by the facade, and the central dome (Michelangelo design) in the middle of the church stands tall in the center of the picture. The Pope thinks the picture is not accurate, because the dome should not look so high when people are below. Moderow's explanation is that it is the painter's business to put the dome and the west facade in perspective, not the architect's task, because perspective can't show the size of the building. He believes that design is based on facts, not intuition. This is not to say that he doesn't pay attention to the image of the building, but that he has different measures to deal with the visual problems of the building. Moderow thinks that the laws of geometry are more important than experience, because experience comes from personal point of view, and everyone's point of view may be different. Although the image on the facade is invisible, it is at least geometrically correct. Compared with the perspective view, the elevation view provides a real design. No matter how developed the perspective is today, Moderow's doubts will always exist, and the authenticity of the perspective will always change with the perspective.

1670 The Italian Society of Sanluca became the beginning of real standardization of architectural painting, which greatly promoted the development of architectural painting styles and techniques. Its influence later spread to France and became the basis of French academic style in the19th century. There were a few bird's-eye views in the early days of Lucca Society, but later they all gave way to the plane, elevation and section with fixed patterns, because classicism prevailed again. When the building center was transferred to France, France was under the rule of nobility and imperial power, and architecture and architectural paintings were for the emperor. In order to record the great achievements of Louis XVI, professional architectural draftsmen monopolized architectural painting. Their architectural painting skills have been handed down from generation to generation. In addition to being more pure and clear in vertical section, there are also many achievements in perspective. The bird's eye view not only shows the building, but also depicts the surrounding environment in great detail. Generally speaking, Baroque architects use a series of perspectives to study architecture, which is consistent with the purpose of pursuing rich dynamics and light and shadow effects in Baroque architecture. Palatio's classical school and neo-classical school often use flat, vertical, sectional views and carefully depicted shadows to express architecture, which is consistent with the pursuit of balance, tranquility, harmony and perfection in classical architecture. During the Rococo period in France, architectural style and architectural painting style changed again. The theme of rococo interior decoration is vortex floral decoration. In architectural painting, we abandon the bondage of classical architectural proportion and mathematical logic, and each flower decoration is unique. This uniqueness does not come from different contents, such as leaves, animals and natural forms, but from a new understanding of architectural design. Rococo design emphasizes the characteristics of short-lived and developed artistic behavior. An image is a moment in the whole artistic process, which is completely different from the final and perfect image pursued by classicism. Rococo style architectural painting based on line decoration shows poetic space and light.

The recording and mapping of ancient buildings has always been an important part of architectural painting. Neoclassical architecture dominated the world in the18th century, and a large number of scholars and students came to Italy to study and draw ancient Roman architecture. No one expected that an Italian architectural painting had influenced the European architectural trend of thought for half a century. Giovanni battista piranesi (1720- 1778) is an expert in etching printing, as well as an archaeologist and architect. The purpose of painting ancient and modern buildings is to sell paintings to tourists or to illustrate guidebooks. These paintings show vivid and highly subjective colors and Roman architectural images. Based on archaeological discoveries and personal imagination, he shaped the image of ancient Rome. Different from general architectural paintings, these paintings are not archaeological restoration maps, but add many ideas to future buildings. Anyone who is interested in his paintings will go to Rome to see the ruins and find that the buildings in reality are much smaller than those in his paintings. He expressed his views on architecture: the combination of emotion and reason. As a result, he actually stood at the forefront of the romantic movement. At that time, the works of European architects were influenced, which was the first time in history that architectural painters led the architectural trend.

At that time, architects achieved striking and exciting visual effects in their works through examples of old and new excellent designs. The word "picturesque" was adopted as the building standard, adding "change" to the post-Parati Convention. Pirinesi's influence on architecture is also manifested in his interest in light and shadow, exaggeration of scale and pursuit of architectural history.

Piranesi made architects realize the real function of architectural painting; Convey the architect's design intention and ideal. At that time, many architects were excellent architectural painters, and many architectural painters also participated in architectural design. Charles de Willi (1730- 1798) was considered as the best architectural painter at that time. He designed the Paris Opera House with Joseph Pyle (1730- 1785). They designed a magnificent indoor space in the solemn architectural appearance, which was vividly reflected in the outline drawn by Wyler. It not only shows the building structure and interior decoration, but also depicts the people in the audience hall, stage and street. This painting is a new breakthrough, that is, architectural painting can show a spatial sequence from the outside to the inside.

Solemnity has become a goal pursued by aesthetics and architecture. It expresses extreme shock and high-spirited emotion through architectural means. Superman's scale is often used to form this solemn beauty. Real architecture cannot realize this ideal, but architectural painting can. Pirinesi's paintings provide the vocabulary to achieve this effect. Efienne-Louis Boullee took these words to the extreme beyond reality. Before the French Revolution, he was engaged in some small-scale architectural design. When the revolution plunged the construction industry into a trough, he simply used architectural painting to express his ideals. He believes that architecture, as an art, should be as infectious as works of art. He used painting skills, scale effect and architectural light and shadow to express his views. He used simple geometric shapes-such as cylinders, cubes, cones and cubes-to shape architectural shapes. Sinkler (1781-1841) was a famous German architect and architect in the 9th century. At that time, Germany was ravaged by war. With his talent for painting, Sinkler created many imaginative architectural landscapes. In architectural engineering drawings, he uses the combination of contour lines and watercolor rendering to show the atmosphere of "painting" without losing the heavy feeling of the building itself.

Because of the importance of architectural painting in expressing architects' intentions, architects not only paint themselves, but also hire a large number of professional architectural painters to work in the firm. It is hard to say whether many architectural paintings are created by architects or painters. The famous British architect Sir sir john soane (1753- 1833) became an instant hit, partly because his painter J.M. Grandi had an outstanding talent for painting.

Paris Art Institute occupies an important position in the history of architecture and architectural painting. Its neoclassical architectural style had a great influence on western architecture at the end of 19, and it was also the first systematic architectural education system. Its architectural paintings are also unique. First of all, it attaches great importance to the artistic value of architectural painting itself, which is itself a work of art; Secondly, its architectural paintings only have plane, section and elevation, and there is no perspective. Plane is the basis of modeling design, and the success or failure of architecture depends on plane, and everything else is secondary. This shows that its architectural education has some progress. Due to the cancellation of perspective in architectural drawing, architectural design tends to pursue the accuracy and perfection of geometric shape and scale. The art school abandoned the romantic and free architectural view expressed by perspective, and the architecture was more realistic. In order to show the spatial depth of the facade, all shadows are carefully constructed by rendering technology. The environmental background of a building is usually included in the elevation.

But these drawings are entirely for teaching, which means that the buildings on these drawings are not for construction. These drawings do not show the structure of the building. All parts of the building are represented by a technology, which looks like a material. There are good and bad standard architectural designs for architectural study. This architectural view became an architectural style at the end of 19, which greatly hindered the further exploration of architectural space itself.

/kloc-another factor that caused the prevalence of architectural painting in the 0/9th century was the architectural design competition. A large number of national public buildings, from large town halls to small libraries, are often built after selecting excellent schemes through design competitions.

Most competition drawings contain perspective views, which show the image of the whole building and give the judges and the public an understandable visual impression of the building. Good perspective is an indispensable condition for the competition. Many architects have to be "painters" to undertake this task because they have no ability or time to draw perspective. These painters generally do not indicate their names, and the important roles behind these designs are called "painting ghosts" in Britain. A mediocre design can be improved through a "ghost painting" perspective. Of course, design competition is not the only reason for the formation of professional painters. /kloc-the changes in the occupational environment in the 0/9th century have also turned architects into managers or economic men. The painter's work has developed from drawing competition drawings to publishing special books for architects, and even directly participating in the facade design of buildings.

Because architecture has become a painting under the painter's pen, the development of space, volume and construction technology of architecture itself is inevitably limited by "painting"./At the end of Kloc-0/9, architecture itself did not form any new concept, which is not unrelated to the negative impact of architectural painting. However, in the late19th century, revolutionary changes took place in art, and impressionist and post-impressionist paintings broadened people's artistic horizons. Post-impressionism integrated decorative style into painting, and a new art movement with decorative style as the main body appeared in architecture. For example, British architect MacIntosh and Austrian Otto Wagner. Their architectural paintings are fresh in color, but there is no space and light and shadow effect. Their architectural painting has a distinctive decorative style, which shows that the architectural style and architectural painting style are closely linked. The concept of architecture has changed, and the style of architectural painting will also change; Or conversely, the change of architectural painting style will also affect the change of architecture itself. In the 20th century, we will also see this phenomenon: architectural painting is not only the expression of architectural style, but also the expression of the architect's personal style. Antonio Sant'Elia (1888- 19 16), as a representative of Italian futurist architects, died young, so Ji Ping left no architectural works. But his thoughts influenced many modern architects later through his architectural paintings. His brushwork is vigorous, unique and magnificent, which shows the connotation and spirit of futuristic architectural style.

Frank lloyd White (1869- 1959), like his architecture, has a unique oriental style: the architectural drawings have no sense of volume, and a little color is added, leaving a big gap in composition. He created a new color pencil drawing in architectural painting techniques. This painting method does not need special paper painting, and it is fast and effective.

Modern architects Mies van de Rob (1886- 1969) and IE Cothusier (188m1966) both oppose the decoration in architecture and advocate the importance of "machine" aesthetics and architectural functions. Their architectural paintings are also different from the past. Smith is good at showing the transparent effect of glass, integrating the inside and the outside, and the buildings are like clouds, so his paintings have no sense of weight. Corbusier, on the other hand, shows the relationship between the space of the building and the elements that separate the space. He used pen line drawing, which was simple and direct, without rendering or carving. Another feature of his paintings is to express the concept of space. The space he described is not the space he saw, but the space that one can experience after learning about architecture. It is this sense of space that architects want to create. He painted a lot of sketches, architectural expressions and architectural sketches in his life. Apart from his cubist paintings and sculptures, he didn't draw a picture about architecture for the sake of painting itself. His architectural painting, like his architectural theory and design, has become a model for future generations to learn. Expressionism also appeared during the two world wars, and its architectural painting also occupied an important position in history. Different from Bauhaus's architectural education, which pays attention to models and despises architectural painting, expressionism has a special liking for architectural painting. Their paintings pay attention to the decorative style and ignore the content of the building itself. The building is regarded as an external space and an internal space, and the picture presents a dignified sense of architectural volume. Erich Mendelssohn (1887- 1953) used thick black lines to express the sense of movement and strength in architecture. Another famous architect and architectural painter Sha Lining (1873- 1950) contributed the most wonderful architectural renderings of this period. He used pencils and lime pens to add light colors to render the architectural and environmental atmosphere.

There were some famous architectural painters in the 20th century, such as Hernat jacoby, alvar aalto and Louis Kahn. Jiakebu, an architect who takes painting as his profession, shows a completely different style from Aalto, Kang and other architectural masters. Jiakebu's paintings are clear and rigorous, but a little mechanical. All genius is only reflected in composition and layout. Alto's large number of paintings reflect his complete personal style. He often keeps drawing on paper with a soft pencil in order to find the questions and answers of architectural design. Similarly, a large number of architectural sketches drawn by Louis Kahn during his travels are directly related to his architectural design. Like Aalto, his painting is not a record of architecture and structure, but a schematic diagram of an architect's creative thinking. By comparing Jia and Kang, we can clearly see that painters and architects have different purposes, different methods and different mentalities in architectural painting. The former is to promote architecture to the society, while the latter truly reflects the architect's self-communication, mood process and the true meaning of architectural art.

In fact, in the 20th century. Architectural paintings, especially those aimed at depicting architectural images, have been impacted by other media, such as photography, models and computer graphics. Architects are often not good at these new media. Even in the field of traditional painting, the pure painting skills of architects have long been far less than those of professional painters. The artistic charm of architect's architectural painting is no longer "form", but "emotion" related to architectural art, which is particularly obvious in the architectural painting of post-modern architects that appeared in the 1960s and 1970s. Venturi, michal Graves and Leon Creaer are all representatives of contemporary architectural painting. They not only add traditional vocabulary to architecture, but also strive to have traditional rhyme in painting methods. For example, Graves uses the colored pencil used by Wright. Because these people didn't have many projects to do when they first started out, architectural painting became a tool to express architectural ideas. Their architectural paintings expressed architectural ideas, not just "shape". Because of this, their paintings have become art collections, and at the same time, they have opened up a new way for contemporary architectural painting.