Lignes Blanches
The drawings represented here as diptychs fuse seemingly disparate topics, eras, even disciplines that have each affected the evolution of architectural thought in their own ways. Primarily, they celebrate the ability of the flat canvas to achieve pictorial ambiguity. The plates present themselves as a form of Op Art in the manner of twentieth-century gestalt artists, borrowing from seventeenth-century drawing techniques invented to translate imagined forms into carved stone. In today’s practice, two-dimensional drawing is not the preferred—certainly not the required—medium to imagine form; it serves merely as a tool to convey or represent the architect’s vision. These drawings are futile. They use old, cumbersome practices to draw forms that are not even three-dimensionally possible. To use them as instructions for modeling these geometries in reality would be a fool’s errand. These shapes exist momentarily only in the flat plane, and only in the mind. They are constructions of the architectural imaginary.
Drawings and Essay Published in Pidgin 27, 2020