In a recent essay, Sam Jacob raises several ambiguities underlying the state of architectural drawing now: the techniques of digital sampling and collage have become the most common mode of manipulating information, resulting in a blurring between media-drawing and image, the real and abstract, materiality and linework, depth and flatness. ¹
Concurrent with these ambiguities in drawing, digital form faces a duality between the themes of computation and composition, which seem to either result in self-similar, topological surfaces that lack spatial depth and hierarchy, or monolithic forms that lack the potential energy and precise modulation of computation.
This project explores “pattern” as a diverse mode of formal continuity in both digital form and drawing, combining computation’s potential for precise modulation and topological continuity, with a compositional articulation of tectonics and multilevel spatial hierarchies of position, scale and connection.
Based on an initial diagrammatic analysis of the Villa Farnese, these drawings seek to maintain the nested hierarchy of forms while conveying spatial relationships, interiority, light and shadow through materiality, texture and line work only, playing on the ambiguities between flatness and depth, perspective and orthographic projection.