INSTITUTE OF ART STUDIES,

Bulgarian Academy of Sciences

Stela Borisova Tasheva SEMIOTICS OF ARCHITECTURAL GRAPHICS

DETAILED SUMMARY
of a PhD Thesis in the field of "Theory and History of Architecture" Code 02 17 01

Scientific Advisor: Dr. Arch. Dobrina Zheleva -Martins Reviewers: Professor Dr. Hristo Kaftandjiev Dr. Arch. Georgii Stanishev

SOFIA 2012

The PhD thesis was discussed and proposed for defense proceedings on 6th March, 2012, after enlarged meeting of sector "Architecture", Institute of Art Studies, Bulgarian Academy of Sciences The dissertation consists of an introduction, two main parts, conclusion and contributions, thematic bibliography and annexes: thesaurus and listing of illustrations' content and sources. Statistics: 172 pages (453,233 characters or 252 standard printed pages), 101 illustrations

The public PhD defence will be held on 22.06.2012 at 10:00 AM, in the Conference Hall of National Library, Sofia, in open session of the scientific jury: Professor Dr. Hristo Kaftandjiev, Dr. Arch. Georgii Stanishev, Dr. Joanna Spassova-Dikova, Dr. Arch. Boyan Georgiev, Dr. Arch. Dobrina Zheleva-Martins, Professor Dr. Ivan Kasabov and Professor Dr. Nicolai Tuleschkov (alternate members). The dissertation work is available to whom it may concern in the library of the Institute of Art Studies at "Krakra" 21, After 05.22.2012, a detailed summary, reviews and opinions in Bulgarian will be posted on the website of the Institute of Art Studies <http://artstudies.bg/>

I. GENERAL DESCRIPTION OF THE PHD THESIS As an initial convention it should be noted that PhD thesis was pioneer and fundamental in its scientific area. Thus, there was a significant expansion of studied fields (as to extract the essentials from any close topic), but a reduced concentration on different aspects and stages. In order that the thesis stays adhered to architectural field, specific terminologies of semiotics and technology were strictly avoided. The terms in the aspect they had been applied in the work, were shown in the annexes. The main proposition of the work claimed that architectural graphics was a complex semiotic system a whole visual language, expressed in graphic speech. This language was able to allow adequate communication and also to be a rightful participant of the semiosphere. The proposition was proved with research over the development of architectural graphics through history, examination of its functions as language, analysis of used methods, signs and systems, and following its interactions with another visual languages. Problem Relevance The theme development is relevant in several theoretical aspects of architectural science and semiotics, and also in architectural practice because of the major changes imposed by new technology. The study of architectural graphics development as a sign system is of present interest for the history of architecture, as until now there is no essential work on the history of architectural graphics. Following the contemporary architectural paradigm in science, the theme is topical for the complete semiotic study of architectural graphics. It allows semiotic analysis of architectural images and assessment of their role in the design process, their information values and their future development. Hitherto semiotic approach was applied many times to all architectural or graphical studies. Architectural graphics as an independent phenomenon, with its specific meaning saturation and purpose, had been subject to semiotic research in quite fewer cases. A classic survey on the semiotics of architectural plans had been offered in the 70-s, by Manar Hammad and "Group 107" in Paris. In his work an architectural drawing had been considered a visual symbol with its content and expression plane, further applicable with elements and properties of Hjelmslev structuralism. The relevance of the theme follows also from the noticeable breaking with traditions in architectural graphic "crafts", which were successfully used until the middle of XXth century, and at the same time from the lack of adequate analysis of the transition to new means of expression. Another reason is the different role that an architect has been given, as previously he had been the one and only leading figure in a design process. New technological tools and new perspectives in human society conduct to new types of communication situations. Now communication is between all parties involved in the design: in investment process or in some way consummating an architectural object, thus complete change in methods of recording and transferring information is presumed. There is also search for graphic expression of new elements, processes, materials and specialists in design and construction, and this also requires further study and development of the manifesting language of an architect. The relevance of semiotic analysis of architectural graphics is based also on the architectural education in Bulgaria. The academic books which are focused on graphic tools in architectural design are quite humble as number and are only describing or prescribing signs. Thesis Aim and Objectives The basic aim of the study is to explore architectural graphics from semiotic perspective. To achieve this aim the following objectives are set:
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research over the historical development of the architectural graphics and its shaping as a visual language analysis of formatting data typology transmitted by graphics retrieval of forms and organization sets of architectural data in information transfer. study over communication processes that are using architectural graphics creation and testing of an original classification of architectural graphic signs detection of trends for enrichment of graphic architectural language exploration of architectural graphics used in monologue and dialog. investigation of architectural graphic contributions to the META-systems of architecture and culture in the modern world.

Research Scope The study is focused on communicative and symbolic aspects of key stages and objects in the evolution of architectural graphics. The legal framework and regulations of architectural graphics are no subject to this research. As a specific feature, it should be noted that architectural data record is not considered according to the size of the depicted object: whether it is interior, exterior or urban design. Although these three levels require different signs in the thesis it is accepted that the typology and the formation of all signs follow a common logic. The survey is strictly theoretical and it is not intended to reveal any specific linguistic structure of any leading semiotic or linguistic school in architectural graphics. The aim is neither to track a complete timeline of architectural graphics history, nor to create a graphic overview of contemporary practices and visual signs in architectural images - while selecting facts, only semiotic aspect prevailed. Research Methods The used approach is interdisciplinary - crossed methods by several major areas: architectural theory and history on one hand, and on another: semiotics and related with it theories of information, communication and linguistics. The semiotic modus is leading: architectural graphics is considered a complex semiotic system. The methods are: 1. A purposive analysis of books and available information in the fields of theory and history of architecture, visual communication and semiotics, graphic design and art, while obtaining the necessary data and facts; . 2. A diachronic analysis of the historical development of architectural graphics in semiotic perspective; 3. A network analysis of forms, structures and organization of architectural data records while they were occurring and later on when they are used; 4. A component analysis of communication processes and testing models of communication through graphic design; 5. A synthesis and approbation of author's classification of architectural graphics signs; 6. An analysis of selected case studies; Thesis Content and Structure The thesis consisted of an introduction, two main parts, conclusion, bibliography and annexes: thesaurus and list of figures and sources. In the introduction part were examined the relevance and necessity of the study, current state of art, the subject, the objects, the aim, the proposition, the objectives and scope of the study, the used methods of work, the heading system applied and the expected results. In the first part, entitled "Historical Development of Forms that are Recording Architectural Data. Aspects of Their Evolution as a Visual Language", were followed "parallel" mediums of
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architectural content, and the main characteristics of the architectural forms of record were set. In the second part, titled "Communication. Architectural Graphics as a Visual Language", the processes of communication which include transfer of architectural data were explored, also was made a static record of contemporary linguistic structure and an author's classification of the existing architectural graphics signs. In conclusion the findings and results of research were summarized and the importance of the study was demonstrated. The contributions of the thesis were specified, and were put questions for future research. Expected contributions and results: The thesis was expected to outline the boundaries of the research area "semiotics of architectural graphics" and to offer an interdisciplinary approach to the matter. The proof on the linguistic nature of architectural graphics and rethinking the content and application were also anticipated. It was also assumed that the study would benefit the architectural education through the reassessment of the role of architectural graphics in the design process as well as with a semiotic approach display as way of work. Outcomes in history and semiotics of architecture, architectural graphics and graphic communication were expected linked with the thesis objectives.

II. THESIS DETAILED SUMMARY

PART ONE of the dissertation, entitled "Historical Development of Forms for Recording the Architectural Details. Aspects of Evolution as a Visual Language" was consisted of ten sections, nine of which tracked historical aspects of architectural record of various forms and the tenth summarized results and conclusions. In the first section, titled "Introduction, Primary Forms of Architectural Records," emerging of architectural graphics was revealed as a part of the genesis of all type information recording. An account of the existing ways to transfer architectural data was given, that included: speech, written observations and ideas, graphics, instructions, manuals, treatises, models, images of architectural objects which were not meant for architectural use, customs and rituals, containing data and key features of buildings under construction, etc. To identify channels for architectural data transmission (oral, ritual, graphical) and graphic approaches (syncretic, drafting, combined) were used some ancient drawing examples as the relief of an urban settlement plan on the wall in the Neolithic cave atal Hyk in present-day Anatolia, Turkey, dated around 6000 BC. The spot had been noted in excavations of the archaeologist James Mellart in the 60-s and some scholars such as Stephanie Meece later had challenged Melaart's proposal to read the image in architectural context. Subsequent architectural images from ancient Egypt were also taken in consideration: narrative murals and bas-reliefs containing architectural objects and in parallel, professional sketches and drawings. Thus two trends of orientation of ancient images were exposed: aiming on narrative and on professional architectural records. (Fig. 1). Narrative graphics were focused on major event or person, which was not architecture itself, and building environments were used simply as reflections of observed objects, that appeared on a picture as a background. On the other hand, professional records were used to examine geometric and construction features of a building and also to provide guidance for its implementation or deployment. In the second section, headed "Syncretic Transmission of Architectural Data in Fine and Applied
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Arts over Time" was explored the existing natural syncretism of art and knowledge, as a distinctive feature of ancient and medieval civilizations, and sign systems used in it were scanned. Also the mixed use of professional architectural graphics and common graphical practices in some areas was analyzed. Initial syncretic forms of architectural images were found to emerge from the earliest hieroglyphs, where architectural signs were used for a record of architectural objects signs like plans and simplified silhouettes, subsequently passing into logogrammess. Five groups syncretic images, according to their communication function were found trough numerous examples. Taking into account the inevitable conventions in such grouping and the possibility of simultaneous function of one image in several groups, the discussed sets were: 1. Artistic, in which architectural image was the main part of the depicted message, but was used as a subsystem of a visual language of a higher order: an artistic or other semiotic system. (In this case the main sign system has been the artistic one, and this system is the tool meant for artistic impression.) The images were intended for general public. 2. Background graphics, where images were architectural context of some main event depicted. Thus they were only parts of the message; and again were considered as subsystems of artistic systems and had many observers. Using architectural background was noted as common in recreating "genius loci" or in comparison of key sites and personalities. Architectural elements, highlighting the nature of some persons can be also seen in many portraits (Fig. 2) 3. Decorative, where architectural images were recorded over an essential part of the existing built environment and were subject of applied arts - mosaics, frescoes, wall paintings, reliefs, ceramic decorations, and so on. They could be a dominant part of the message or to have only a supportive role. They again were a subsystem but of 3-dimensional systems like architecture or of applied art systems. 4. Specialized images - which were meant for professional exchange of information. They were the main part of a message and the communication situation covers a narrow professional circle of recipients. They were in their own independent semiotic system: professional visual language. Architectural drafting were included to this group also. 5. Research images - these were architectural images in which the built environment is the subject of further study, more than geometric modeling of the object, or building instructions. The images were upgraded in additional aspects: historical, structural, optical, aesthetic, conceptual or educational and this upgrade is the main part of the message. Research images formed metalanguage: a visual graphics system designed for quite narrow range of professional observers. The continuing use of all the groups of syncretic images was observed. Specialized graphics' enrichment through artistic methods and the application of new concepts as a result of this syncretism, was revealed through examples of reinforcement of the emotional impact of architectural images when they had been saturated with visions of human flow, or of the seasons or special areas. The search of some emotional impact caused by architectural graphics had great application from marketing perspective. In conclusion, syncretic contents of architectural graphics, which included rational and emotional data was postulated in the section. Image were found to contain both precise geometry data and performance, and lots of affective information, used to understand and experience architectural objects. In the third section, entitled "Data Transfer in Building Practice. Modules. Geometric Methods for Tracing on Site. Sketches in 1:1" were revealed types of information transmitted within the construction practice. The role of an architect as a carrier of knowledge was examined, as this knowledge was largely perceived as sacred and inaccessible to outsiders. The special function of an architect was found emphasized not only by his numerous titles trough history, but also in the way of his representation as professional in various paintings, sculptures and reliefs. The existence of "data known by default", transmitted only orally in architectural schools and required for reading their graphics was
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exposed. The methods of communicating design information in forms of rituals or mental structures were shown through the example of the ceremony "pedj shes" (or "stretching the cord"), which according to Wilkinson, had been obligatory for starting of any building of a temple in ancient Egypt. While performing "pedj shes" with a series of ritual acts in accordance with certain astronomical rules, the outlines of the building had been drawn on the ground, covered with plaster. In the section were also explored various geometric constructs on the site and the use of modules, networks, units of measurement and sketches in 1:1 scale. In conclusion, three methods of transferring design information in construction process were revealed as follows: laying down and correcting drawings on the site, ground or wall; using of units of measurement and modules to achieve adequate rate; geometrically proportioning in chosen ratio, by following rule or formula; These methods suggested two types of organization of architectural data: as a geometrical dependence, construction, rule or formula (e.g.: two - or n - times larger size compared to already selected size, the size of the diagonal is "n" times size of perpendicular to some line, circular order or cyclic placement and proportion, a mathematical formula or function used to create form or volume) or as simple correspondences between shapes and sizes (element, with its own width, length or size, which can be written in figures). An example of organizing spatial data by geometric construction was shown in the ancient methods of proportioning explored by some scholars (Fig. 3, left). There was presented a specific algorithm based on a system of squares - and the final interior proportions were a consequence of these squares built on site by lines and compasses. It was suggested that an example for a simple correspondences could be any drawing that was possible to be reproduced by specifying a line and its specific size, as in the plan of a garden with dimensional signs of outside walls on the New Kingdom drawing board (Fig. 3, right) In the fourth section, named "Evolution of Three-dimensional Utterance of Architectural Data in Models," were examined architectural details and sign systems in modeling practice and professional ways of expression. The range of examples included models from antiquity to nowadays. The following groups of models were fixed: urns (home for dust) and burial models; cult and religious models, parts of some ceremonies or of the "household of God"; game models for all ages, showing the typical house structure or lifestyle; reliquaries or chases for relics, "homes" of the sacred; vessels - "homes" for expensive substances, materials or gifts; models presenting the "emanation" of a culture or area: souvenir models; research models of proposed objects or sites; design architectural models representing an overall building information; design aspect models, which show important aspect of the object (Fig. 4 left); conceptual models. (Fig. 4, right); Rational and emotional components of the data stored in a model and the different stages of completion (from a general volume-sculpted body to a detailed three-dimensional "jewel") were vindicated. The demand for realism and clarity in the depiction of materials was tracked from abstract patterns drawn or painted over a model, to the selection of corresponding or even visually identical surfaces. The possible conventions and errors while presenting architectural information, and the typological mixing of data sets and models were marked. A well known path of sign evolution: from iconic signs and full realistic accordance to some resemblance and then to conditional, aspect signification was also looked through in model-making. The use of modeling as a source for new expressive tools and new ways of work with information
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was marked. For example using real time CAD models was an analogue to model perceiving as a smaller instance of a building, that was possible to be experienced as "live". And also, visually the sense of full overview of an object in a CAD generated model, and the logics of internal and external axonometric or perspective views are influenced a lot from model making. In the fifth section entitled "Exploring Architectural Treatises and Their Illustrations as a Record of Architectural Knowledge" were examined ways main features of architecture had been verbally expressed. Architectural treatises of ancient times to nowadays were traced and the concept of "typological structure" was brought to light after researching various descriptions of existing facilities and recommendations for establishment of "ideal" buildings and cities. It represented a new, third way of organizing architectural information, and this structure was found possible to be recorded verbally, visually or as a combination of both methods. Thus using "typological structures" suggested a well known model and the new available information had to be positioned in comparison with it. This way data sets or at least some of them were not fixed as absolute "values", but as a relative of the model "notes" and "comparisons"; it was not the location and type of elements that had to be specified, but the offset and the differences with the "ideal" or "model" one. After studying classic and contemporary architectural treatises, the main topics analyzed by the architect were shown as: "ideal architecture" - the type, quality, technology, materials, etc. ideology that architecture should have, and all the modifications, additions and understanding of Vitruvian firmitas, utilitas and venustas; history studies and reconstructions of periods and locations, search on biographies of famous architects, on objects or styles, and choosing a position towards the existing built environment and its historical forms. understanding of architecture as a part of a larger system: culture, anthropology, etc. nosphere; These themes also suggested their own graphic expression: in the first group of topics the needed signs had to express more and more object attributes and elements and in the second and in the third group of topics signs should help keeping the dialog in several areas. In the sixth section, with the title "Emergence and Use of Monge (Orthogonal) Projections in Architectural Graphics", some applications of orthogonal projections - plans, sections and elevations in architectural practice since ancient times were examined. (Fig. 5) As early cultures used mixture of several projections on common ground or drawing (probably in an effort to deliver the accurate spatial location of objects, their structure and logic of the arrangement - see figure 5 in the middle) the considered examples were grouped in three combinations of orthogonal projections: Mixing or combining horizontal and vertical projections. It had been a common way both to explain the deployment and also a method for quick form recognition using mental geometric completing of the two projections. Mixing several vertical projections in one image. Except from their utterance in ancient times as an expression of spatial location, in more recent projects this mixture had been widely used for combining sections and elevations in a drawing. This method had been giving instant understanding of inside and outside structural design, although no details were clearly shown. Merging several horizontal projections in one image. This method had been found rare and seen most frequently in drawings on a large scale where the superimposition of horizontal projections had been obtained in transitional zones - the contact area of the inner and outer space or in a stairwell.(Fig. 6 middle) In addition to the combination of projections on a common ground, the ways projections and drawings were grouped in projects (Fig. 6, right) as a mathematical basis and practical application were also noted. In the section it was shown that the combination of horizontal (or vertical in same directions)
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projections in a drawing could be either a consequence of wishing to construct and record an object by its geometric features, or a way to deliver a new layer of information about its geometrical proportioning or anything else, and this way over the data organized in correspondence method to bring the data organized as formula or geometric construction. It was found that Monge projections might be used with all the three types data organizations recognized so far (correspondence of shape and size, geometric construction or formula and typological structure). The growing demands of unambiguous relationship between the architecture and its record were also marked in the section, which had to be assured with the introduction of mandatory rules and signs. In modern architectural graphics the use of 3D plans was studied as a tool for achieving high realism, and also some mutual influences between architectural graphics and computer game industry were revealed. As a prerequisite to the search for simple notational meaning and realism, were put some efforts to socialize architecture and later on the desire for accessibility and clarity of graphic presentation for untrained public. In addition in the section were tagged two linguistic trends in the evolution of Monge projections: the trend for simplification and mixing projections of rapid "colloquial" communication and mental understanding of the project, and also the trend of creating a new "terminology" vocabulary that was to satisfy current standards and technologies. The first trend could be seen in examples of the rapid influx of orthogonal projections in design processes from the Renaissance to the present days: by increasing the conventionality of the images; in combining multiple Monge projections into a basic structure or set; in fixing and following strict principles for drawing construction, order, viewpoints and size depositions. The search for new "terminology" basis was revealed in the attempts to achieve high realism in the newly added elements in the drawings and in the formation of new architectural signs. The study of geometrical projections as methods for recording architectural graphics continued with pictorial projections in the seventh section, entitled "Architectural Perspective and Axonometry in Time: Aim, Interpretation and Use." The quest for correct perspective rules and also methods for creating pictorial images in different cultures were investigated trough various examples. (Fig.7) The common mathematical basis of perspective and axonometry was taken into account and different types of perspective were considered. The rhetorical features of perspective views were brought to light with some words by Renzo Piano. Their parameters of application in architectural graphics were also explored. A comparison between the abilities of perspective and axonometry to create an accurate and informative records was done. (Fig. 8) Successful applications of pictorial images were marked in two forms of organization of information: through formulas or algorithm of geometric constructions, or correspondence of shapes and sizes. Although pictorial images may express a specific typological structure, due to their exact threedimensional nature, they were rarely found useful to create references and accordance with existed visualizations (e.g. larger, shifted or rotated objects), except in dialogical situations when the viewers were comparing old and new versions. The opportunities to create sets of drawings including orthogonal and perspective projection, and the common use of data organization and sharing were noted. Avoidance of conventional drafting signs, texts, notes, logos and dimensions in pictorial drawings (unlike in Monge projection) was followed due to their abstract data nature and thus their disruption of the integrity of the composition and authenticity impression. Therefore the trends of total realism and high accuracy of drawing were often applied in the very same images. The progress of photography, optics evolution, the novelties in movie making, new technologies for CAD visualization and virtual simulations were highlighted as revolutionary factors in the design processes at the end of XX century In the processes of developments of pictorial images there were also revealed the mentioned in the previous section trends towards simplification and "quick" sketch in conceptual or "conversational" phase, and the demand for "terminology" by applying realistic color. In conclusion, the applications of pictorial images in design processes was systematized: as a
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cognitive process of design visualization or "quick" preview, as a technical approach to the display of accurate design and construction information; as a mean of rhetorical focus over something important, and as a META - message, characteristic of the author's architectural and artistic culture (and / or his school.) In the eighth section, entitled "Progress of CAD - Means in Architectural Graphics" were traced origins and current uses of CAD tools in the design. According to the participation of machines there were located three types of design processes, which were examined in details: a process entirely by hand, combined processes between hand and CAD tools or by CAD only. Series of operations until achieving the final version of the design were schematized in each case (Fig.9) The example of the different perception of the gestalt principle of continuation was a key for understanding the different feels of graphics on manual and computerized base (Fig.10). The special role of drawing in thinking had been supplemented by some studies of the drawing teacher Betty Edwards, which had stated that "drawing ability seems to be, in part at least, an ability to make a shift in brain state to a different mode of seeing/perceiving." On the ground of different design algorithms and the distinctive perceiving, in the section are supposed two possible trends that are essential to CAD future development: as a self-sustained drawing tool as an imitation of manual work or a convenient way of digitizing it; It was also noted that a software or hardware product may combine elements of both trends. Drawing and modeling softwares were discussed, and were also followed the newest trends in parametric design, in direct connections with the production of elements with CAM modules, in BIM software development, in the expected cloud technology and in some assumptions about technology type "sixth sense". Some problems arising in the management of CAD software due to the speedy introduction of new technology and also the sharp drop out of some of them were discussed. The evolution of computer technology in the design had been analyzed, as it had began as a relief to calculations and complex technology operations, but later it had built their own methodology of work. It was recognized that computer graphics as any other architectural graphics can transmit both rational information and emotional data sets which had been put up in it by the operator. Building data placed in a machine could be amended in all organizing, storing and presenting ways, and also could be switched over them. Thus with combinations of approaches and ways of organizing projects in modern parametric modeling or CAD applications, a forth, combined way of organizing information was abstracted. In conclusion, the main trend of working with CAD graphics was found to display the full utilization of the latest hardware and software technologies, rather than seeking relief in the design drawing or mimicking the manual ways of work. In the ninth section of the thesis, titled "Trends in Use of Color, Hatch, Fonts and Decorations as Graphic Forms of Data Transmission", the domination levels of characteristics and peculiarities of a historical epoch, its scientific and technological capabilities, as well as the relevant time tastes and preferences over architectural graphics, were examined. The use of color, hatch, fonts and decoration style as signs and means for transmitting data with a rational and emotional content was analyzed. Three different communication situations were separated following the applications of architectural graphics in varying degree of project completion: a personal sketch, a final design and a architectural record, and it was taken into account how the use of color, hatch, fonts and decorations had been changed within these limits. The use of iconic relevance and realism in images and cases of drawing in entirely symbolic display were explored. The performance of fantastic decoration while separating text and image, and also the development of looks and contents of header fields (Fig.11), captions and legends were studied. Rational data transmitted by color, hatch, fonts and decorations in architectural graphics was regarded as iconic sign of real characteristics, as symbolic presentation of material object existing on
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site, and as sign with high level of abstraction, which had been referred to invisible or auxiliary elements in the drawing. As an example of "invisible" elements were indicated red net-square systems used in ancient Egypt (they had expressed the proportioning system of a designed object) which were marked on the drawing surface with differing from the main sketch colors. Similar projects in today's images were displayed in scheme of specific spaces, areas and functions, often painted in pastel palette purpose fields or in bright colors along contours. Transmission of emotional information that can be set on purpose or simply reflected in a drawing was also examined in the section.. The use of color, hatch, fonts and decorations as special rhetorical tool was explored and some opportunities to analyze original vision, biographical studies, or style preferences, reflected by emotions disclosure were highlighted. From communication perspective the capabilities of data saturation of the color, hatch, fonts and decorations were determined. Their contents of partial elements of architectural information: names, links of correlation between objects, materials and design, elements of typological structure types and forms of geometric constructions were emphasized. First part results and conclusions were summarized in the tenth section. Forms of recording and transmission of design information were systematized as: performed through ritual, through verbal description, by models and 3D body, through graphical schemes - orthogonal projections or pictorial images, by CAD structure and by combinations of several ways, same as some possibilities for a partial data record through color, hatch, fonts and decorations. Both rational and emotional typology of architectural data was displayed, and it was noted that the rational part had not always been directly related to architectural work, and sometimes had just been used as a background or further decoration ground. It was reported that rational information had consisted of some data relative to material objects buildings, environment, people, materials, events, etc., or had been able to describe abstract or nonexistent elements - networks, modules, axes, assumptions, myths, etc. Emotional information was reported as targeted on expressing feelings on purpose, or just to be reflected in images. Possible organizations of architectural data in arrays were revealed: by correspondence of shape and size, by principle geometric relationship (formula or construction), by typological structures, or combined parts in CAD applications Evolution in the use of architectural graphics for communication purposes was detected: first graphics had been "story-telling", part of the narrative images, or just complementary, as feature or part of well known structure. Gradually, however, graphics had been professionalized and had become a common method for placing an architectural structure. Later on images were saturated with technical data and graphics of several types were combined in sets. A conclusion stated that the necessary and sufficient information of an architectural object had been changing over time, due to the development of various forms and means for communication. The complex impact of graphics over its viewers was confirmed.

PART TWO of the dissertation, entitled "Communication. Architectural Graphics as a Visual Language", was dedicated to the process of transferring architectural data. This part consisted of eight sections, seven of which explored different aspects of the problem, and the eighth summarized their results and conclusions. In the first section of the second part, headed "Communication Models in Architecture" were analyzed features of communication processes performed by architectural graphics and also modern technologies impact on them was monitored. Adaptations of several communication models based on key semiotic ideas were used. The main factors in communication processes that had been defined in the section were: final goals, mode of data transmission, participants in the processes and semantics of graphic messages.
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The satisfaction of basic language functions in communication through architectural graphics was explored closely in the section. Fulfilling these functions, (according to a classification by M. Moskov, these are representative, apelative, emotive, phatic, aesthetic, meta-language, magic and game) were isolated as possible major goals in conversing. The modes of data transmission (through sketches, drawings, Monge projections, three-dimensional image views perspectives, axonometries and mixed, models, verbal descriptions, internal knowledge, reference with typological structures, photographs and even videos, films and animation) were derived and added from the first part of the thesis, while highlighting the fact that these methods had often been applied in parallel (to ensure reading of at least one of them). Needs of collective, sometimes simultaneous work and approval of several participants were placed at the basis of a proposed circular communication model that included all parties in a clear business protocol. (Fig.12) Thus at any moment, anyone could be engaged in communication and be messaging the others. The participants in a communication process that were discussed in the section included: author of design assignment (architect); author of a project, (architect), co-authors, colleagues and drafters, engineering team, investors, economic experts and individual (sub) contractors, supervising designers in the investor's team, in the authorities and archives; clients and audiences, using and monitoring the final architectural product, researchers and scientists, as well as possible add-ons of technologists, industry specialists, advertising agencies and media. The circular model allowed adding new players, if they become available in future design processes. After analysis of a simplified communication model from Ferdinand Saussure's base, adapted for using architectural graphics, it was selected to model communication between any two participants in the design through a communication model of Shannon and Weaver (despite some of its imperfections), (Fig.13, top). In this model "a hand" was considered as a "transmitter" - a device whose most common purpose was data "sending" and "an eye" was taken as a "receiver", a device that received data. The brain itself was pointed as where the received and transmitted information had been interpreted, formulated and developed, and "a signal" was formed as architectural graphics done on paper (Fig.13, below). By this model two groups of gaps were reported as possible reasons of noise (loss of information): those in data coding (errors of graphic expression in the code itself) and also some peculiarities of perception (errors of decoding, errors in the signal carrier). Some losses in this model coverage were compensated by reference to the communication model of Karl Bhler, in which a third, semantic group of gaps was revealed. These errors had been created due to differing main concepts (darstellung) of individual participants when these concepts are not controlled or intentionally caused, but were found able to alter interpretation of graphic signs. The role of computers and their implanting in the design process was carried out in the model of Shannon and Weaver. The machines were deployed first after the basic transmitter and then - before the basic receiver, considering the fact that encoded network signals were not understandable to the main participants source and destination. (Fig.14) The chosen variant of drawing operations order in the scheme had been commonly spread: hand sketches that were digitized and edited, then printed and evaluated (see the middle model of operations in Fig.9). An often method of work in this case was spotted, where sketching, entering data into the machine and later on reading the full CAD information, could be performed by different individuals: an architect to propose a project in raw drawings, another one to enter the data and to create a finished drawing, and another one to get full understanding of the file (and its final visualization and printing). The model outlined the fact that a computer used as a tool for drawing and visualization, after the initial sketching assumed secondary coding of architectural information, which is itself an internal communication process (transfer of information between the artwork and the computer or computer and the project preview or printed graphics). So new possibilities for data loss due to the emergence of "noise" in these internal communication processes were assumed. (Fig.14, below). In other words, apart from errors due to the graphical capabilities of the manual code
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and the possible errors of the signal, appeared also errors in data transfer from sketch to machine and from machine to graphic.1 It was highlighted that a computer was found both necessary to create and to read the full record and comments of architectural graphics, as the computer gained importance not only for drawing sake but also as a connecting device. The proposed methods to control errors in practice were such as following the ideas of Shannon Weaver for an observer, and also the use of feedback. The need for specific graphic signs supporting these control elements and processes was indicated. In the second section of the second part, entitled "Architectural Graphics as Technically Accurate Record. A Suggestion of Elements Structure and Classification", architectural graphics was seen as serving data in extra-linguistic reality, i.e.if the author had created for himself an idea that represented an architectural structure, the recipients of the graphics had to be able to reproduce technically accurate and complete copy of this author's idea. It was found that up to date no global standard for architectural graphic signs existed, although there had been many general rules and similar graphic signs, same as some common standards covering parts of possible situations had been adopted in most countries. In Bulgaria, in "A Construction Manual in Tables 2006", used up to date graphic standards were explained as "introduced in recent years as BNS standards - some ISO and EN examples, and also BNS, from the seventies and eighties of the twentieth century, some of which are under the unified system design of the CMEA, that long time ago had been introduced as BNS ".2 Linking architectural graphic signs in a global semiotic system, which allowed them to get combined (as words) into an overall drawing (text) and thus to produce new, different meaning of this drawing (text), much more than the simple addition of these signs one after other was postulated in the text. Still from a formal point of view the possibility of generating records (and new architectural structures) through defining signs and their meanings in visual vocabularies and then random to combine them was found existing. Thus, each finished drawing itself also might be a separate graphic system, so that all drawings relating to a project to develop a system of higher order. The study introduced three basic features of graphic signs in modern architectural design: layer saturation, range opportunity to break the sign and (or) incorporation of "absent" signs. Layer saturation was reported as being different from the graphic signs essence, which was allowing their linking to each other in the drawing, because the data saturated (placed) in a new layer was giving new "extra" dimension compaction to the "text". The range of architectural graphic signs was explained by graphic differentiation from other sites and objects outside the project and also the level of data saturation according to scale. Breaking signs and incorporating an "absent" sign was based on the main convention in architectural graphical expression: the sign of free space. The sign was named "absent3" (practically non-existent) as it was represented just by the graphic main carrier, the ground (a white sheet, a monitor, graphics fields) that had been hosting graphics over. According to Schank Smith "at its most basic level, the production of line constitutes making marks with a pointed tool, initiated by movement and force." and in architectural graphics every single mark on a ground was to be perceived as a sign (or a proposal) for an architectural element situated in the midst of free space. In fact in human perception graphic signs were to be accepted as meaningful objects only when on some background, and the creation of architectural graphic sign was found impossible without a foundation of white sheet or
1 In practice, these secondary errors existed also in communication processes and about separation of drawing work between more manual participants, without any involving of a computer. The machine specificity as a means should not be regarded as a "limitation" in drawing performance or communication process, but they were pointed as new, abundant element in the process, that were requiring drawing skills and editing upgrade. 2 , ., ,, 2006, . 51 3 The term of "absent" was made by the author of the thesis

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another drawing surface. The question: "How white sheet amended its possible meanings in a manner understandable to an observer, and how this affects graphic signs?" was posed, and as an example were considered possible extreme changes to an "wall" sign and its reading. It was concluded that for full understanding of architectural signs a preliminary level of sign knowledge was necessary and also some adherence to certain principles of gestalt perception, facilitating sign "clustering". The special "iconic assumption" in general rules of architectural sign vision was traced: a sign of "wall" was found both iconic (as if one looked a possible cut in the wall) and symbolic (because the wall had never been cut). A classification of three types of architectural graphics signs was proposed (Fig.15): enclosing - images of material elements surrounding or occupying space dimensions; indicative signs showing characteristics of some physical environment in function, size or location; meta-signs - signs of a higher order, determining type and legibility of a drawing or defining relationships between drawings in a set. As enclosing signs were accepted all records of building material elements, and it was noted that enclosing signs had been mainly used to express "extra-linguistic" reality. According to their geometrical characteristics they were divided into groups of solid (cut by projection plane and absent without subitems), passable (with built in absent signs) or vista (located under or behind the projection plane without crossing it in reality). Thus, doors and windows were also solid enclosing signs that were filling holes shown in passablewall signs. This way, doors and windows serve as system neighbor components to the sign of wall in a drawing (like new words in text), forming a combination of higher order. According to their function enclosing signs were classified as architectural, structural, technological or urban, but a single element could perform one, two or more functions. Clarifying functions of indicative signs were postulated, so that they were able to show profiles, sizes, materials or other features through interactions with enclosing signs. They could be embedded in an enclosing sign (formed with strokes, hatches or break) or to be placed next to it (such as dimensioning lines and text), thus creating a specific data pattern in a drawing. Indicative signs were divided into two basic types: pictorial and textual. According to previously discussed transmission of hatch and color from iconic to symbolic convention in graphic signs, the pictorial type were decomposed in two subgroups: iconic similar in their view to the represented material, (like hatches showing wood flader or masonry) and symbolic (e.g. hatches of concrete slab, signs showing solid performance of an element, dimensional lines). A possible duplication of pictorial and textual data through parallel signs in a drawing, and also the addition of "legend 4" meta-sign were marked thus ensuring correct delivery of information. The inability of indicative signs to exist independently, was noted, as they were found bound by certain enclosing signs and applied within them. (Fig.15) The incorporation of an absent element in indicative signs was also revealed as possible and usually had the meaning of continuing material, object or element implementation within the drawing limits. The ability of indicative signs to perform phatic (signaling) function concerning the data nature and even to posses apelative or aesthetic functions by selecting a specific color or graphical form was considered. Another division of indicative signs proposed in the section was signs of static and dynamic type. Static signs could be applied constantly in their field of administration. Dynamic signs were set as indicative signs that may vary within certain limits: e.g. like the note over an element in drawing "acceptable slope of surface from 2 to 5 %." Phatic and meta-language functions of graphic meta-signs in a drawing were clarified, as they served as a record of rules and methods of data arrangement and placement and to represent different control or service dispatching functions in a higher order system (that had been consisted by all the drawings in a project). Meta-signs were substantial (e.g., a north sign, labels or notes, section lines, axis,
4 A legend: a visual dictionary in table set, which is comparing textual and graphical content, indicative of graphic sign meaning

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Fig. 1. Narrative and professional architectural graphics of Ancient Egypt.

Fig. 2. Architecture as portrait background.

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Fig.3. Data organization: geometric construction and correspondence.

Fig. 4. Aspect and conceptual models.

Fig.5. Ancient orthogonal projections. 16

Fig. 6. Use, assembly and setting together of drawings and projections

Fig.7. Medieval pictorial views

Fig.8. Bird's eyed view: mixed and perspective projection of large object 17

Fig. 9. Design operation until drawing a final version

Fig. 10. Gestalt law os perception: principle of grouping by "closing" and its perception

Fig. 11. Color, hatch, font and decorations: new graphic techniques 18

Fig.12. Collective "circle"model of communication

Fig. 13. Communication model by Shannon and Weaver 19

Fig.14. Involving computers in Shannon amd Weaver communication model.

Fig.15. Architectural graphic signs in working drawing phase. Personal example. 20

Fig. 16. Architectural signs used for project analysis of a reconstruction of historic building

Fig.17. The same author uses both graphics and texts

Fig.18. Methaphores of tangible and intangible concepts

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Fig. 19. Metaphors of an author's style , created with view of graphic and line characteristics

Fig.20. Search of visual empathy

Fig.21. A "castle" vision: an original, a scenography and cultural response. 22

etc), but might be embedded in with absent elements (e.g. breaking axis or section lines inside the drawing). Level elevation signs in a plan or section were accepted as meta-signs as they were not supposed to mark enclosing element height but were placing a common size and rate for all floor elements yet not depending on other drawing elements, nor on any point of view. On the other hand dimension signs of walls either made vertically or horizontally, were valid for specific walls and were accepted as indicative to them. A possibility of structural meta-sign was also pointed: e.g. selection and designation of projection type, the choice of palette, the choices of sets and ranges of project presentation. These viewpoint choices implied mentally continuing of invisible parts in correspondence with geometrical rules of presentation, while recreating architectural model. Meta-sign were also divided in pictorial and textual, according to the accepted graphic conventions and standards and in addition into static and dynamic groups due to their way of administration. Static meta-sign for example could be a level elevation in a plan drawing, text sign for the number and size of steps in the staircase or inscriptions of the roof slope in the drawing notes. (Signs of roof slope over a facade, section or elevation elements and fields were pointed as indicative, as thew were determining only the slope of those specific fields and elements. On the other hand, notes of the type of "A slope of roof planes is 21%.", were valid for all roof elements and were meta-sign.) Dynamic meta-sign was giving variating parameters within certain limits or in chosen functions to a whole group of objects. The fact that such signs had been rare till now, but were becoming more and more necessary when introducing parametric modeling and using of complex bio-volumes was noted. The growing number of sign variations in time was highlighted. The proposed set of architectural signs (enclosing, indicative and meta-signs) was also found in pictorial architectural graphics: enclosing signs were geometric projections of substatial elements, indicative signs indicated selected materials or other descriptive data with colors, hatches and labels, and as examples of meta-signs were chosen header captions. However, the study was limited to a detailed research over architectural drawing signs in Monge projection due to the predetermining iconic and literal vison of signs in pictorial images. The use of enclosing, indicative and meta-signs into the detected in the first part ways of organizing graphic design information (by correspondence of shapes and sizes, through principle geometric dependence, formula or construction, by typological structures or by combining data in CAD applications), was explained as follows: in correspondence were used combinations of enclosing and indicative signs, geometric relationships and typological structures were defined by meta-signs, and their changes again were shown by enclosing and indicative signs; combined organizations were recorded by meta-signs both within the used items and to define new rules of entry. The concept of data compression, was also discussed within the section, as it was marking a certain language skill of secondary coding used in all forms of information recording: either graphic, verbal, musical or etc. (For example, when lyrics had been recorded it had been sufficient to record the chorus part once and then to note the word "chorus" for each of its repetition: thus compressing the data record.) Typological structures and parametric library components were also considered as a kind compression of architectural message, because the current model information was transmitted as compared with pre-set structure (such as shortening or displacement of a well-know, library element). The need of new meta-signs in recording of compressed messages was also examined, as these had to explain the principles of compression itself (e.g. additional tables and inscriptions specified by the architect in a drawing, or invisible previously used and recorded within the software constructions and geometric formulas which were ready to recover in the model when the next one opened the file). The hidden data compression that was occurring when working in CAD graphic environment was also analyzed. The complete visualization of a complex object data into the CAD environment would slow down drawing editing and perceiving, so often designers achieve changes to the final structure without full geometric visualization, due to the temporary nature of the graphic and its constant change at conceptual stages.
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In the third section of the second part, entitled "Organization of Dictionary and Rules in Relation to Dialog in the Design Process", were explored additional signs and rules necessary for the conduct of graphic dialog, same as the genesis of new signs, influenced by construction and technology changes. The analysis was focused mostly over the meta-lanaguage function and partly over the phatic, which were provided by meta-signs able to create a protocol for dialog start and course. The following forms of dialog were examined: Between "old" and "new" design solution; Using an interdisciplinary (technical, engineering, historical, scientific, etc.) dictionary; In interventions of review and approval in a drawing - prohibition and permits; The simultaneous saturation with signs from different disciplines. Phatic language function, which was forming the dialog start was found to be ensured by choosing a particular type of presentation, and in fixing the increased contrast in graphic expression of dialogue positions. It was also noted that as a drawing can introduce its own specific graphic vocabulary, meta-language meanings and rules for their reading, so a dialog might also specify its own unique dialogical parameters In conclusion the following tools supporting dialogue were defined: using the same signs, but emphasizing of each interlocutor by changing the color or graphic technique use of new architectural graphic signs on new items use of new data layers and indicative signs, defining the specific area of research - for example in the analysis of buildings undergoing renovation (Fig.16) use of dialog meta-signs recording conversation protocol or prohibition and permit signs The fourth section of the second part, named "Authorship. Personal Influences on Architectural Graphics, Personal Style and Creed, Original Graphics", studied graphic authorship and the representative speech function as an architect self-expression method, revealing his feelings and thoughts. According to the author's contribution in a communication situation, graphics was divided into two main groups: primary (fundamental) and secondary (commenting) graphics. As fundamental graphics were stated all images concerning a process of creating an unique object, with possible authorship in three versions: an authorship both of graphics and of the object; only of the object, and the graphics made by another person; an authorship only of the graphics as an illustration of somebody's other idea. In the stages of professional dialogue, however, it was possible to re-draw and re-design an idea or architectural object. Then the one that had re-drawn or re-designed was not a primary author but a commentator. After the authorship had been clarified, some "choices" and "preferences" were set as common research parameters of architectural graphics, such as the regular use of a design phase (conceptual, technical or work), the predominant choice of "genre" (public, residential, industrial construction), most often occurrences of drawings in specific scale (interior, exterior, urban development scheme, etc.), and technological preferences of the author - paper, pencil, chalk, ink, collage, computer or else. Other possible research indicators offered in the section, were of graphological type a visual composition choice on the paper, sizes and proportions of images, characteristics of used lines like thickness, density, duplication or interruption, fullness and completeness of objects, number of drawing variations and preferred color palettes. As an interesting, unique parameter of architectural graphics was displayed the information density - the data "pattern" of the sketch. Two more specific characteristic of architectural graphics were revealed: the use of "metaphors" - an upgrade with additional meanings above the architectural data and the parallel use of textual and graphical forms on the same drawing field. (Fig.17) Further in the section examples of personal influence on architecture and culture were discussed as a legacy in the genre of "Architecture Fantasies" and others. In conclusion, the weak development of
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this researching field was highlighted and the complexity of assessing limits of personal and universal in "graphic" handwriting was emphasized. In the fifth section of the second part, titled "Visual Metaphors and Graphical Interpretations. Graphics as a Heuristic Source", the specifics of creating new meanings in higher order through applications of visual metaphors were explored, as a sequence both of a personal search and the characteristics of human perception. The term "visual metaphor" in the section was used as a relatively general concept of transfer of an item or technique from a system to another visual or aesthetic system in the context of architectural graphics. The examples displayed five levels of metaphors, alone or combined : level category or context then a metaphor was transferring characteristics of one category to another; level object in a category when features of two different objects in the same category were switched in between them; level process - when actions had been performed, and operations, activities or functions were transferred between similar processes; level of application - when a process had been crossed with another situation and a whole process was transferred into new context level of upgrade implanting additional meta-meanings within visual metaphors; In conclusion visual metaphors found in conceptual architectural graphics were summarized in the following three groups: 1. Intentional metaphors juxtaposing architecture with tangible elements; (Fig.18, left - as a metaphor of rock and crystal); 2. Intentional metaphors representing intangible concepts and processes, where three subgroups were highlighted: metaphors of philosophical ideas and categories (Fig.18 right - metaphors of the idea of "contrast"and "stab"; metaphors of author's personal feeling and way of expression (Fig.19); metaphors based on features of Gestalt principles of perception organization; 3. Randomly generated metaphors due to the visual ambiguity of architectural sketch; Each of these groups of metaphors were found as basic of new architecture and symbols. The abilities of graphical metaphors to go beyond their firstly designed limits and to develop in additional levels of meaning according to artistic and visual cultures of observers were analyzed. The chance of creating new connotations and interpretations of graphical signs was marked as an important feature of architectural graphics, though it had been appearing also in other visual systems. Graphic metaphor ambiguity and its own interpretation of a concept can also be read as a metaphor of higher order, set on purpose or obtained in occasion. The significance of graphical metaphors that allow personal enrichment of intellectual graphic expression was revealed and knowing previously created metaphors was found to cause a cultural accumulation and specific abilities of drawing "citations" and intertextual linking. In the sixth section of the second part, named "Rhetoric of Architectural Graphics" were studied some rhetorical techniques in architectural images. These techniques were meant to perform an apelative linguistic function of connecting with another person, by drawing his attention and raising his confidence in the message. Three characteristics in the use of architectural graphics as a visual language were shown as important: time, language potential and publicity. In a direct conversation participants were able to share information through a constant and well known by all interlocutors code, but if a debate was recorded and written down, its duration got increased, and its issues had to remain as open questions for future participants (i.e. the duration in time was found also increasing the number of participants). So it was expected that all used graphics was granting equivalent communication abilities
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to all newcoming participants despite any recent changes in actual codes and urban environment. Thus, the need of using universal symbols, structures and situations, and also their repetitions in similar positions in realistic images was discussed. From rhetorical perspective creating a positive attitude towards the visualized object was displayed as providing an optimal duration of communication, provisioning of appropriate publicity and consideration of language potential with them. To achieve these conditions were found two groups of visual "helpers": conceptual and artistic. To the first group were assigned all visual representations of ideas and beliefs that support the meaning of certain architectural object: display of selected figures, objects, symbols, situations and characters. In the second were adopted purely drawing techniques such as image composition, choice of perspective point (Fig.20), graphic accents, palettes, graphics and information density, etc. The "assembly" of graphics in sets was revealed in addition as META-rhetorical tool. Trends of more and more specialized graphic expressions, that had been profiling and preparing individual kits for each communication event - such as "advertising" materials of a studio / an architect (a collage of important projects with conceptual drawings and design "motto", photos of finished projects); advertisement of specific building elements (with a selection of application images) personal sketchbooks or notes; marketing presentation of a specific building, introducing of owners, brands and business activities, etc. In conclusion the importance of using rhetorical tools in architectural graphics was stressed, as they were able to strongly alter any project vision and to affect observers positively or negatively. In the seventh section of the second part, headed as "Interactions of Architectural Graphics and the Semiosphere", architectural graphics were examined as a border zone, combining several visualizing areas: information graphics, artistic sketching, and also today - graphic designing. Drawing sets were fixed as systems of higher order for different functional variations of architectural imaging, as preliminary sketches and pictures, technical drawings, artistic perspectives, textual descriptions and drafting details; and as sub-systems to architectural design, personal, cultural and aesthetic views in the period and the systems of network communication. The fact that realistic depiction of architecture had been easily done by using modern technologies in photographic and video images was analyzed. Thus were recreated both a saturation of a concept with better experiencing of spaces and buildings and also promoting of certain architectural image. The distribution of architectural background presence in another, new field of visual arts: scenography was shown. Architectural visions were discovered at the basis of many modern "urban myths", that had become mandatory background for story-line developments and had been strongly influencing consumer taste and preferences. Movies and pictures were found able to form visual archetypes of "home", "office", "shop", "meal" or "city", "village", etc., nowadays with contemporary architectural objects, about the past while recreating historical architectural monuments and environments, and also about the future with suggested forms. "Historic", "future", "fantastic" or "hightech" urban and architectural environment scenography proposals were analyzed and were modifying features of mass taste, customers knowledge and directions of design searches. On the example of the concept of a "castle" (Fig.21) a complex feedback was monitored: scenography creating an environment that matches the author's urban vision in a film, perception of this "castle" archetype as a characteristic of a particular society or storyline, and later on architectural reconstruction of the renovated "castle" view. The results and conclusions of studying communication process with the means of architectural graphics were summarized in the eighth section of the second part. In it were included analysis of linguistic functions performed by architectural graphics as proof of its linguistic nature, and the identification of occurrence and prevention of "noise" in the process. An important result was the offered classification of architectural graphic signs, such as enclosing, indicative and meta-signs, and the registration of their basic properties: level saturation, range, and incorporation of absent sign. Tools for
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creating new signs in the architectural dialogue were revealed. It was noted that classifications and signs features discussed in the sections might be used for up to date synchronization of architectural graphics. Other results were definitions of possible indicators for the study of private drawings, and the displayed impact of personal images used for expression of basic architectural ideas and bringing out specialized topics. The study of manual graphics ambiguity and the analysis of graphical metaphors with the differences in meaning set by the author, and seen by the observers were also noted. Another result was the analysis of the rhetorical graphic tools divided on conceptual, artistic and meta (in systems of higher order). In addition, visual responses to existing popular architecture and the emergence of visual architectural vocabulary had been revealed, and the impact of fantastic architectural views and habitable worlds in the cultural paradigm were shown.

In the CONCLUSION part were summarized results and the study importance was demonstrated . Thesis contributions were laid down and future issues were post. The work results were classified in two groups: Associated with graphic development: Study of historical development of forms for recording architectural data. Establishment of a database for future research in architectural graphics. Determination of the architectural data contents of: rational and emotional information Clarifying the information organization in architectural graphics as a typological structure, correspondence between shapes and sizes, formulas or geometric construction, combined CAD organization and their sets and mixtures; Showing methods and stages of using CAD graphics in architectural design processes. Revealing two trends in CAD that determine the further graphical representation of architecture: as imitation of manual work, and as a new graphic culture. Associated with semiotics of architectural graphics: Outlining the characteristics of architectural graphics as a complex semiotic system and professional graphic language. Study on implementations of language functions (as representative, apelative, emotive, phatic, aesthetic, meta-language, magic and game). Finding dependencies in the communication process involving all participants in architectural design. Analysis of communication patterns using architectural graphics between two participants with a notion of ingrowth of CAD as drafting tool and as a way to make a network connection Offering a classification of types of signs in architectural graphics Giving more meanings to the manual graphics as a form of thinking. Tracking rhetorical features of architectural graphics and their use in dialogue. Proving semiotic relationship between architectural graphics and the semiosphere Novelty of the study was found in three directions: delineation of a new research area of architectural graphics from a semiotic perspective, summarizing some database on historical development of architectural graphics; an approbation of classification of architectural graphics signs. The study contributions to architectural science, to semiotics, to architectural criticism and education, and also as a delivery of a new research branch, were determined as follows: Contributions to architectural science was revealed in the research on history of architectural graphics and on rethinkng theoretical aspects of understanding architectural graphics as a semiotic system and internal professional language.
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The thesis main contribution was the detection and the determination of a new knowledge branch: semiotics of architectural graphics. Studies on this area were not developed until now. In semiotic science , the contribution was found in the proof of architectural graphics as a visual language and expansion of studies of visual semiotics in architectural graphics field. The work contributed to criticism by focusing on the vacuum between the generations and their beloved ways of graphic expression. For architectural education was important to reveal a discussion of positioning manual graphics and new technologies uses in the design process, and re-thinking of teaching on architectural graphics. The following areas and topics for future analysis were marked: Architectural graphics in Bulgaria: historical development of Bulgarian architectural graphics, features of the Bulgarian architectural graphic school; Semiotics of architectural graphics: iconic and symbolic architectural signs, cognitive aspects of visual scale perception, applications of scale in terms of dialogue, temporary scale in CAD environment; Development of CAD architectural graphics: how to restructure and standardize graphics in CAD applications while maintaining its creative potential, exploration of architectural graphics as a subsystem of information graphic system; interactive graphic view, working protocols that provide constant control over data layers of architectural signs; Architectural graphics and its interactions with the semiosphere: impact of architectural graphics on various forms of art; interactions between visual semiotic systems dealing with architectural images, and so on.

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PUBLICATION RELATED TO THESIS Reports on conferences and congresses: In Bulgaria , " - ", " 2009", , 14-15.04.2009, , , , " " ": , , , ", , 27-28.04.2010., , , " XV-XVII " " " " " 21.05.2010 ., , , " : , " " , ", , 3-4.06.2010, , " " , " : , , . , , ." " - ", , 18.11.2010, , , , ", ." " ", , 1 - 2.06.2011 , , " " , , " ", '2011, , 9-12.06.2011, , " CAD " ESI2011 ", , ", , 9-10.06.2011, , , , " ", " ", " ", , " " , , , 23-24.06.2011, , " " , , " . " "-2011 ", " ", , , 12-13.10.2011, , Outside Bulgaria Tasheva, Stela, "Semiotic Aspects of Architectural Graphics' History" In X world congress of semiotics, "Culture of Communication, Communication of Culture" 22-26.09.2009, La Coruna, Spain; Tasheva, Stela, "Visual rhetoric of architectural graphic between XV- XVII century" In 9th conference of AISV/ IAVS, AISV2010 "Rhetoric of the visible. Strategies of the image between signification and communication", Venice, Italy, 13-16.04.2010; Tasheva, Stela, "Visualising the Town of Dimitrovgrad: Communication V/S Agitation and Propaganda." In "Semiotics Research. 2. Dialogues, Comparisons, Confrontations between Semiotics and Other Disciplines", inter-doctoral symposium in the International Centre for Intercultural Studies in Semiotics and Morphology of the University of Urbino "Carlo Bo", Urbino, 56.09.2010 Tasheva, Stela, "Trends in working with CAD drawings as architectural graphics" , In ARCHTHEO 2011, Theory of Architecture Symposium, Mimar Sinan Fine Arts University, 23-26.11.2011, Istanbul, Turkey 29

Tasheva, Stela, "Visual Metaphors in Architectural Graphic and Genesis of Innovations", In ICSVC, 1st International Conference on Semiotics and Visual Communication themed "from theory to practice", 25-27.11.2011, Lemesos, Cyprus Publication of articles and reports: Bulgarian scientific issues: , , , : . "" .3, 2010, . 38-42, ISSN 0324-1254 , , . "", .5, 2010, .44-46, ISSN 0324-1254 , , XV-XVII " " " -8-, , 213-221, ISBN: 9789548177511 , , : , : " ", " ", , , 2010, 2, .120-132, ISSN 1314-0825 , , , , : " ", " ", , , 2011, 2, .233-238, ISSN 1314-0825 Foreign scientific issues Tasheva, Stela, Semiotic Aspects of Architectural Graphics' History In: http://www.razonypalabra.org.mx/N/N70/TASHEVA-Revisado.pdf , 2010, "Relaciones Pblicas", Nmero 70, ISSN 1605-4806 Tasheva, Stela, Visual rethoric of architectural graphic between XV-XVII century, report, In CD: Retorica del visibile. Strategie dellimmagine tra significazione e comunicazione. 2. Comunicazioni, ISBN: 978-88-548-4072-0 Tasheva, Stela, Visual rethoric of architectural graphic between XV-XVII century, In: Retorica del visibile. Strategie dellimmagine tra significazione e comunicazione. 3. Contributi scelti, Aracne editrice, 2011, p 645-656, ISBN: 978-88-548-4217-5 Tasheva, Stela, Trends in working with CAD drawing as architectural graphics, In: Theory for the sake of the theory II, Archtheo'11 Conference proceedings, DAKAM Publishibg, Second edition, 2011, p 476-486, ISBN: 978-605-4514-04-5 Absrtracts Tasheva, Stela, Visual rethoric of architectural graphic between XV-XVII century, abstract, in "RETORICA DEL VISIBILE, convegno dell'Associazione internazionale di semiotica visiva AISV-IASV, p. 63-64 , , , abstract in "Abstracts book" of international conference "Color and language" ISSN 1314-3883

Articles in professional issues: , ., AISV2010, , In: "- ", N:20, 20-27.05.2010, p.12-13 , . - In: "- ", N:40, 7-14.10.2010, p.8 , . ARCHTHEO 2011 () - In: "- ", N:49, 815.12.2011, p.5, 10

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