The research is concerned with questioning the role of drawing as primarily concerned with representation. The research methods used are concerned with the space of drawing, where the boundaries of the paper, architecture and the project itself are transgressed through a ‘conceptual mobility’ between techniques and concepts discussing ‘zones of instability’. The paper is concerned with drawings exploring the unknown – provocative and speculative qualities of space and the city – and the drawn – un-realized visions of spaces and such cities – that maybe seen as utopian. A project embodying these concepts is Constant’s New Babylon (1960) project, in its visionary drawing techniques and the approaches it takes to the city. Martin van Schaik calls it a ‘yardstick – the utopian conscience paying a visit to architecture’s paper playground’. The paper suggests that in Constant’s project, the fact that the background of the paper assumes importance implies a new technique, in which drawing and making collide. In this case, connections between thinking, imagination, drawing, and building happen through what Robin Evans calls ‘guises of projection’, occurring when there are ‘zones of instability’. Furthermore the paper also argues that these zones of instability are concerned with the space of drawing, where the boundaries of the paper, architecture and the project itself are transgressed through a ‘conceptual mobility’ between techniques and concepts.
|Journal||Panorama to Paradise: Scopic Regimes in Architectural and Urban History and Theory, XXIV the International Conference of the Society of Architectural Historians, Australia and New Zealand, Adelaide, South Australia, 21 – 24 September, 2007,|
|Issue number||CD-ROM publication|
|Publication status||Published - 2007|