Patrick Lynch, Exploded Axonometric Roof St Peter's Klippan, 2012 IN SET

It occurred to me that the minor cult of the Lewerentz’s construction drawings (as interesting as they are) is also misleading, creating the impression that Lewerentz was a materialist. Working drawings and details don’t really describe what is happening in a church, of course – they can’t, they’re not drawn to communicate meaning or use. I became increasingly convinced that to examine a plan as simply a combination of lines (the Wittkower-Rowe-Eisenman trajectory) was similar to studying musical notation without listening to the actual music. So my alternative method of studying buildings via a new way of drawing them (as the spatial settings for rituals ornamented with anthropological use and artworks) needed a complimentary mode of phenomenological involvement: participation. – Patrick Lynch


Rex Savidge, Entrance vestibule to civic building, Newcastle, 1957, DM 2907 IN SET

... Young Nick Harbottle, trailing his duffle coat, comes into his office and looks over Savidge’s shoulder. ‘They’ll be lucky if that cheese plant survives a winter outside,’ he murmurs. Rex Savidge doesn’t answer but smooths his knitted tie. Worse is to come: ‘Bit empty, that pedestrian precinct. Looks like the public is giving it the cold shoulder. Needs a few people, real people. Critical blighter. Rex Savidge sees himself as an aesthete, a bit of a lily, but is aware that Harbottle has an acute eye for the popular. He is right. Damn him. No time to draw new figures. Collage. He calls in his secretary. ‘Miss Armstrong, you are very keen on illustrated magazines; can you can find me a few photographs of some smart people that I can paste onto the foreground for the presentation drawing of that Office job. Rather urgent: tomorrow morning?’ ... – Philippa Lewis


Reiser and Umemoto (RUR), Kaohsiung Port Terminal Anatomy: external panels, 2017 IN SET

Farshid Moussavi’s brilliant call to display architectural working drawings as art in this year’s Royal Academy Summer Show is about as canny a cultural move, vis-a-vis architecture exhibitions, as any in recent memory – and it could only come from an architect. At a stroke she presents architectural drawing at its most superficial and its most profound ... As Farshid is well aware, construction drawings (documents) occupy a peculiar middle-ground in relation to meaning and use, quite unique to the discipline of architecture. They must necessarily traffic between what must be communicated by the architect as technical and legal information and, more profoundly, what can be seen and what can be known. Is the technical a cause or a consequence? Should it be expressed or suppressed? – Jesse Reiser

Drawing Matter

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