Do reverso do desenho

Abstract

Since the Italian Renaissance, drawing has acquired a renewed importance, becoming a determinant factor in relaunching the architectural design process. In drawing, the architect has found a way to underpin the intellectual aspect of his work. Despite its importance, drawing's presence has not been appreciated beyond the useful neutrality attributed to its instrumental existence. As with any other media form, drawing cannot be considered to be totally innocuous to architectural design. Functioning as a codified system, drawing imposes a way on how the idea it represents should be understood, ending up by influencing the manner in which it apprehension should assure. Accordingly, it makes sense to reassess drawing's presence in the design development where it is used, even if this appraisal questions both the desirability of the architect's independent thinking as a creator and the linearity of his creative process. Due to its paradoxical existence steaming from the precarious significance it reveals and despite the related ease of execution, the study drawing differs from other types of drawings used in a design process. However, doubt still remains as to how its existence can become part of the design process it helps to define. Perhaps even more than the reality of a representational system — perspective, orthographic or axonometric — which ensures the truth of an idea, the study drawing prevalence should be observed in the pressing need to resolve the inadequacy of its precariousness, which is inevitably contingent and material. In the project's interior, the existence of the study drawing seeks an imprecise certainty, even if it stems from another witch is provisional. Thus, it should be possible to believe that the drawing will be generated inside the design where it is used. After the discovery of ABOUT DRAWING'S REVERSE, it should be possible to understand THE LAURENTIAN LIBRARY DESIGN PROCESS RECONSIDERED, on the basis Of the recovery of the study drawings done