los angeles CALIFORNIA

SCI-Arc
critic: Dwayne OYLER.

suckerPUNCH: Describe your project.

Prajakt KARMARKAR: This thesis is about the presence of absence through the lens of drawing.

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troy NEW YORK

“Architects typically produce drawings and other artifacts—words, inscriptions, models, full-scale mock-ups, and so on—that allow buildings to be realized by others, at a distance from their authors. This has not always been the case. Gothic building, for example, was a constructive practice of geometric rules and traditions where master craftsmen operated to some extent as architect and builder simultaneously. In this situation, drawings were not the primary mediator between design and construction; discussions regarding the final form of a building continued throughout the construction process. . . .”

*Fig. 1: Robin Evans, “Projection and its analogues: The Arrested Image,” 1995.

[EXCERPTED FROM FRESH PUNCHES ]

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2000

Anyone reviewing the history of architectural theory, Robin Evans observes, would have to conclude that architects do not produce geometry, but rather consume it. In this long-awaited book, completed shortly before its author’s death, Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. . . .

1997

Translations from Drawing to Building and Other Essays together eight of Evans’s most significant essays. Written over a period of twenty years, from 1970, when he graduated from the Architectural Association, to 1990, they represent the diverse interests of an agile and skeptical mind. The book includes an introduction by Mohsen Mostafavi, a chronological account of the development of Evans’s writing by Robin Middleton, and a bibliography by Richard Difford.