The future of architectural drawing MUST embrace the use of intelligent devices operating to record and translate spatial events. 

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WHERE DOES THE THE DRAWING MACHINE FIT IN TO THE DESIGN PROCESS?

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The last two decades has seen our tools for representation radically change, expanding our ability to open up infinite worlds for human imagination. A handmade drawing alone is now no longer the most suitable method for architectural design. Drawing architecture should become an act of assembling, curating and continuous editing rather than a simple hand eye coordination exercise. Any theory that suggests traditional, historical methods of architectural drawing should be privileged over another is a ‘FETISHIST REIFICATION’ as new technologies can enhance these methods whilst adding intelligence and interaction. Regardless of this, the creation processes still prevalent in architectural practices today RELIES TOO MUCH ON CONVENTIONAL METHODS OF PROJECTION that are constructed using just the skill of an architect’s hand or computer generated images that follow a mathematical pattern. The drawing machine lies in-between, combining the architect’s vision with the help of the machine. Architects can no longer be INTIMIDATED by the translation of time and change in a dynamic, variable architectural industry. Drawing machines will allow us to realise the use of ANIMATED, INTERACTIVE, INTELLIGENT AND LIVING DRAWINGS in the design process that are able to deal with a series of translation events, with precise behavioural properties relating to each other. We MUST recognise that architectural representation is an open, unfolding act not a simple transcription of built work and drawing instruments will facilitate this. 

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What if we could combine the artist’s intent with the digital devices ability to vary, pull apart and reassemble an intelligent evolving image?

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THE RETURN OF THE DRAWING DEVICE

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The invention of drawing tools and devices have been used throughout ancient history, but the greatest demand for automated drawing techniques appeared simultaneously with the earliest demonstrations of linear perspective by Filippo Brunelleschi and Leon Battista Alberti in the early 15th century. Such instruments included simple rulers and compasses as well as the more intricate machines for rendering realistic perspectives and tracing. Throughout the Renaissance, when astronomy, navigation and engineering developed, the commitment to geometric instruments progressed with new devices such as the Perspectograph (converting plans to perspective drawings) and the Pantograph (using levers to create proportional copies at varying scales) being developed. At this time, drawing machines were used to reduce human error, FACILITATE COMPLEX DRAWING ACTIONS or DRAW INVISIBLE THEORIES like mathematical formulas. Imitation became the primary goal., to ‘CATCH’ THE THREE-DIMENSIONAL SUBJECT ONTO A TWO-DIMENSIONAL PLANE. Since then the drawing machine has been recognised by various professionals such as artists, inventors, scientists and mathematicians as way to communicate their ideas through automated representation and installations.  The drawing device sustained its rate of development throughout the ‘Age of Reason’ (1600-1700), the ‘Age of Enlightenment’ (1700-1800), and was particularly prevalent through Industrialization (1800-1900). With the invention of Computer Aided Design in the 1980s, the drawing device and hand held tool were no longer the major tools of the architectural drawing. However, the DRAWING MACHINE IS RIGHTFULLY COMING BACK TO THE FOREFRONT OF ARCHITECTURAL DRAWING, through the work of Nat Chard (in his work on drawing indeterminacy) and Pablo Garcia. Even more recently, the works of Lisa Cumming, Niall McLaughlin and Nova Jiang (over the last five years) illustrate the NEW INTERACTIVE TREND APPEARING IN THE MANUFACTURED IMAGE. These devices use the actions of the users to continually develop the drawing, an idea that has ancient provenance, albeit in mythological philosophies (like snow white’s mirror) that has survived through fiction and the ‘make-believe’. 

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THE FUTURE OF THE DRAWING MACHINE - THE INTERACTIVE INFLUENCE

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NEW INTERACTIVE TECHNOLOGIES have and are continuing to increase the intelligence of drawing and imagery. It is now possible for a building to gather data from its users and learn from this to continually evolve its output. So why shouldn’t our drawings? Software that includes parametric and generative algroithms are available so that the machine can collaborate proactively with the designer to create ‘living’ drawing. Yet the CGI continues to be the dominant form of architectural representation to produce the so called ‘verified view’ of our built environment. THIS IS A DANGEROUSLY PLAUSIBLE FICTION. It is an artificial construction of what the world looks like that does nothing in the design process to develop concepts or retort to another set of ideas. We must use drawing devices to challenge the conventional use of familiar tools in architectural design (photography, modelling and projective drawing) whilst also experimenting with DIGITAL ARCHITECTURE'S ABILITY TO DEAL WITH VARIABLES, CHANGE, INTERACTION AND ADAPTATION. Embedded computation in architectural representation will allow the drawing to take on the temporal dimension, to become an unfolding event with the ability to interact with the user adapting as new variables are introduced. Additionally, interaction through sensor technology allows the architect to integrate the full range of human senses into the design process. We can now adapt a drawing in response to different smells, sounds or tastes going beyond just visual perception, in order to translate every type of sensory information into the image. We are only beginning to scratch the surface of the potential of ‘CYBORGIAN’ ARCHITECTURAL DRAWINGS that learn from their data and those that assist in their creation to draw and re-draw architectural theories. 

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The key to the future of architectural drawing lies in the theories behind a LIVING, INTELLIGENT AND SELF-EVOLVING STYLE OF REPRESENTATION. The drawing machine is more relevant and fashionable today as ever due to the infinite possibilities for innovations in architectural design through the role of the hand, computer and interactive technologies.