In the years preceding the First World War, a body of commercially circulated postcards employed rudimentary photomontage to depict urban scenes overcrowded with pedestrians, vehicles, and technical devices. These images have typically been approached either as light-hearted projections of the future oras na & iuml;ve forerunners of avant-garde montage. This article argues instead that their significance lies less in theirfuturism than in the graphic tensions they expose:a mismatch between inherited visual conventions and the accelerated experience of the modern metropolis. Focusing on recurrent strategies oflayering, repetition, scale distortion, and spatial flattening, the analysis shows how congestion is constructed at the level of the image itself. Read within the framework ofpopular visual culture, these postcards registera broader crisis in the representation of urban space- one that unfolded alongside, but outside, the disciplinary languages of architecture and urban planning.
This paper presents a graphic representation of the stages through which a fictional space becomes a place, focusing on the dynamics that emerge between people and objects. It is based on the premise that literary narratives reveal how places are constituted through embodied experience through a sensitive body that perceives, interacts with and gives new meaning to its surroundings. Through an analysis of Julio Cort & aacute;zars' short story La autopista del sur, the study identifies a sequence in which a motorway, initially conceived as transit infrastructure, gradually transforms into an inhabited place shaped by interpersonal ties, shared routines and symbolic relationships. The methodological approach combines existential phenomenology, critical spatial theory and narrative analysis, leading to a visual proposal that interprets the composition oflived space. This perspective offers new ways of thinking about and representing spatialisation processes from a sensitive and narrative-based standpoint.
Video games did not invent axonometric perspective: they borrowed it from architectural drawing in Asia. This research traces the historical transfer of the so-called Chinese perspective - a pseudo-axonometric spatial representation system documented since the 1st century AD - whose trajectory passes through European Japonisme, industrial drawing, and the artistic avant-gardes before reaching the first Japanese and Western video games. It is argued that these games consciously drew on architectural representation systems to simulate three-dimensional spaces at a time when the technical means to construct them did not yet exist. The relationship, however, is not unidirectional: while architecture lent its representational systems to the video game, the latter returned them transformed into popular culture, familiarising entire generations with graphic conventions previously confined to specialised fields. This bidirectionality between architectural representation and virtuality constitutes the core argument of the paperandpoints to a cultural impact that continues to the present day.
This study explores the Cathedral of Baeza as a paradigmatic case of sacred architecture in Andalusia, emphasizing its ability to integrate diverse stylistic influences into a coherent formal whole. Through a typological and phenomenological approach, the research examines how Andr & eacute;s de Vandelviras' intervention redefined the interior space using precise geometric organization, rhythmic modulation of structural supports,and a spatial layout that enhances visual continuity and introspective experience. The cathedral is compared with other Renaissance landmarks in the region, such as the Cathedral of Ja & eacute;n and the Sacred Chapel of El Salvador in & Uacute;beda, revealing the adaptability of Vandelviras' architectural language to different functional and symbolic contexts. Rather than seeking monumental spectacle, the Baeza cathedral fosters a serene and balanced atmosphere, where built form becomes a medium for contemplation and spiritual engagement. The work positions the cathedral not only as a heritage landmark but also as a timeless architectural lesson in the synthesis of form, function, and perception.
The article presents the results ofa graphic-pedagogical experimentation workshop developed with the aim of training 35building engineering students in analogue and digitalgraphics. The workshop, as a first experience for the students, was carried out in the field to develop shared knowledge ofthe exhibition architecture ofthe Mostra d'Oltremare in Naples. This workshop promoted the hybridisation of analogue and digitalrepresentations and mappings. After an initialperiod of learning about the three selected pavilions, based on the reading of historiographical data and the use of digitalsurveying technologies in the field study, the students divided into groups and worked with theirnotebooks, producing freehand drawings in response to a different design purpose according to the six-partrole-playinggame: heritage, landscape, tourist use, client, municipaladministration and exhibition authority. The final critical session of the workshop, called A'rchitectural Cartography,'allowed students to produce technical-explanatory panels, applying the Pecha Kucha technique and the prefiguration of the project intervention through the hybridisation of analogue and digitaldrawing.
