THEORETICAL EXPLORATIONSPostmodern philosophy has influenced the drawings and sketches used by contemporary architects.
The investigation of process is being explored as the item in constant flux, and as a factor of transition.
This constantly evolving mode of communication leaves open the opportunity for translation and
interpretation. A movement called genetic criticismis exemplary of this thought ( Jenny, 1989 ; De Biasi,
1989 ; Robinson-Valery, 1989 ). Investigating the rough draftas a process is not easily compared to the
final product, the genetic critic must interpret the transformation of the text through stages of editing
and revising. This method finds value in the unfinished remnants of the thought process caused by
refinement and development. Not necessarily a linear process, this study is interested in the fluid,
interpretive state of the text. Recent interest in the concept of the grotesque stresses similar ideas such
as transitory and constantly moving meaning, the object of the grotesque as hovering between the
known and the unknown, and the paradoxical qualities that elude interpretation (Harpham, 1982 ).
Writings by philosophers concerning deconstruction and the constantly interpretable text can view
the image as fluctuating in meaning (Hans, 1980 , 1981 ; Kearney, 1988 ).
Architects have always been curious about process. The transformation of conceptual inspiration
into form (a building) is both elusive and magical. Difficult to define, creativity seems to appear at ran-
dom in certain people. The ability to sketch and to visually represent concepts is a coveted skill.
Humans are not impressed by the ability to speak, but the ability to draw may be compared to the tal-
ents of writing poetry or charismatic public speaking (Eco, 1976 ). From the Renaissance, prominent
architects’ and artists’ skills were assigned mythical proportions. They appeared to have superhuman
talents and became Godlike in their reputations (Kris and Kurz, 1979 ). Their ‘divine’ abilities were
considered magic.
Several contemporary architects have gained a reputation through theoretical investigations.
Architects such as Daniel Libeskind began his career disseminating his beliefs through drawings.
These fragmented and complex drawings became visual debate. Upon becoming a common name in
the architectural realm, he began to receive commissions for buildings. Architects such as Aldo Rossi
and Massimo Scolari have published fantasy drawings as a way to purport theoretical investigations.
The question of the text, again referencing postmodern philosophy, may suggest the blurring of the
terms architectureand architectural. The question arises whether a drawing that is architectural can be
considered architecture. Since drawings and sketches can represent theory and themselves be an act
of theory, it would be consistent to conclude they are representative comparable to the representa-
tional qualities of architecture (buildings).
Contemporary architects are exploring the design process and conceptual thinking, utilizing new
media to manipulate images in new ways. Regardless of the medium used, architects still rely on the
imageto evoke a dialogue. This book has explored the media techniques, uses, and meaning behind
the images architects use in the process of design. Not surprisingly, the freehand examples from
Renaissance architects differ little in technique with those from contemporary architects. This is pri-
marily because most architects, contemporary and historic, use graphite pencils and ink pens to
explore their thoughts. Far more differences begin to surface when comparing various movements
and the architects’ educations or styles. It may be argued that the greatest development in the evolu-
tion of sketches has been the emergence of the computer. This is not necessarily true, however, since
the sketches’ intentions remain constant, although the media has changed. Sketches have been and
will continue to be conduits of dialogue.H5719-Ch08.qxd 7/15/05 3:50 PM Page 209