Elan - That work reminds of how weak, in an electrical sense, spatial-formal implication is. An observer’s attitude directly effects the intelligibility of a concept over purely abstracted or mathematical relationships. Matta-clark’s work is interesting because it uses the mathematical (conical section) abstraction of volumetric geometry to foreground the attitude of the observer in relation to the given context (the apartment, cultural field).

A line is impossible. Look deep enough and it’s true identity will emerge…broken by surface or molecular fragmentation. I’m wondering if digital lines are possible, then again ‘digital’ is another means of abstraction…

Perhaps abstractions are like Wittgenstein’s proposition on language, that they are successful to the extent that they are general..and so ultimately we are alone.

Lebb,
Following your thoughts, does´nt this project seam like an architectural collection of a sort, where all architects have been called to solve nothing, or a very conventional program at best, an architectural figure show?
I could imagine a whole set of interesting and relevant architectural problems-situations for young talents to contribute.(Spencer.. And I imagine you too..
Josh: I think architecture is still a relevant factor for humanity, for society, you can actually be a determinant element to human welfare, happyness, from the very simple to the most complex, if this is what you call indigenous design: I´m with you.

I like how you address the fact that each person can express their thoughts in their own style of drawing. A friend of mine draws site analysis and conceptual studies similar to Liebeskind, but neither his or Leibeskind’s drawings mean anything to me.This is not to say they are worthless. Obviously, if they benefitted the artist, then it has worth. I can appreciate that fact, but if these artists are to publish or display their sketches, descriptions of their methods or stream of thought might help understand. Otherwise, it’s just a pretty image to me, drawn in a foreign language.

I have younger coleagues who sketch in absurd, abstract styles for the sake of being different. When asked what they mean, they reply, “I dunno”. What worth is that? Their intriguing image is now a pile of rubbish in my eyes. Trying something different is good for learning, but know what your doing. Have intent.

And, of course, there is also the other tension, between the drawer and the drawn, between the pencil-point just above the paper’s surface and the white leviathan just beneath.

At first I though I want to be a part of this to fulfill some desire to express an idea on housing but on second thought I agree with you. this is an example of the tramping around of our profession to the whims of those with money…see Dubia for another example.

You could use this as an opportunity to advocate for architect’s to prioritize and redefine where our needs are best in service to. I’m not sure what this could materialize into but I’d be willing to help create it if you are up for it.

My greatest inspiration comes from an illustrator friend of mine who has transgressed physical drawing with the digital. He has mastered both tools to both streamline and enhance his desired result. When I first met him his skill with marker, pencil and pen was unparrelled. He since has adapted to our digital world while retaining his high skill level as a hand drawer.

This is particulary emphatic to me when I see new people coming into our work who can hardly draw thier ideas by hand. Maybe I’m still stuck in the stone age.

I have always preferred the malleability of charcoal. With the mark of the pen or the hard drawing line, one has to maintain a consciousness that they are working from a light value contrast to a dark contrast.
But Charcoal can adroitly move form dark to light and back again without any ambiguity of presence. Of course the eraser plays a key role to this approach to drawing, but I consider erasing apart of my analytical drawing process.

Thanks for the thoughts on the line.

luke