WK 8 Readings

Alberto Perez-Gomez’ ‘Questions of representation’ takes a rather drastic approach to the introduction of digital media and tools in architecture. Rather than looking at the positive aspects these tools offer, he heavily criticizes its integration in the built environment, saying “The digital ‘Avant-grade’ has degenerated into a banal mannerism, producing homogeneous results with little regard for cultural contexts all over the world.”¹

He reflects back upon rudimentary methods of architecture and construction, stating, “Since the inception of Western architecture in classical Greece, the architect has not ‘made’ buildings; rather, he or she has made the mediating artefacts that make significant buildings possible… and that these artifacts have changed throughout history.”² These artifacts would be not only drawings but the methods used, going through the history and evolution of architecture.

The initial methods were very geometrical, following geometric rules and systematic approaches. This led forward to maturation, resulting in less systematized drawings and buildings during the Renaissance. By the 15^th century, architecture came to be understood as a liberal art, conceived as, bi-dimensional orthogonal projections, providing a new mathematical and geometrical rationalization.

From this point on, perspective was questioned; parallel lines, vanishing points and other optic illusions were experimented with, envisioned with seeking a true perspective of structures. Only during the 17^th century, perspective became a generative idea in architecture.

Bringing ourselves forward, Perez-Gomez believes the digital tools are not “the equivalent of a pencil or a chisel that could easily allow one to transcend reduction”³. Although, the quick manipulation of viewpoints and perspectives are appealing, it is just that, a faster pencil. In saying so, he fears the results of these digital drawings which aim to create ‘complex natural orders’ remain disappointing.

“While descriptive geometry attempted a precise coincidence between the representation and the object, modern art remained fascinated by the enigmatic distance between the reality of the world and its projection.”⁴ Essentially, descriptive geometry aimed to be a more literal and logical approach in visually mimicking an object, whilst modern art employs a less empirical method, yet maintains the aim of depiction. 

1.       Perez-Gomez, A. (2007). Questions of representation: the poetic origin of architecture. “From models to drawings: imagination and representation in architecture”. M. Frascari, J. Hale and B. Starkey. London; New York, Routledge. p 12

2.       Perez-Gomez, A. (2007). Questions of representation: the poetic origin of architecture. “From models to drawings: imagination and representation in architecture”. M. Frascari, J. Hale and B. Starkey. London; New York, Routledge. p 13

3.       Perez-Gomez, A. (2007). Questions of representation: the poetic origin of architecture. “From models to drawings: imagination and representation in architecture”. M. Frascari, J. Hale and B. Starkey. London; New York, Routledge. p 22

4.       Perez-Gomez, A. (2007). Questions of representation: the poetic origin of architecture. “From models to drawings: imagination and representation in architecture”. M. Frascari, J. Hale and B. Starkey. London; New York, Routledge. p 22