Drawing Comments


This collection of images is a product of research in “drawing comments”.

Properties of drawings, such as line, shadow, transparency and perspective, are used as tools for producing responses to and comments on subjects.

Characteristics of the subjects are described through a drawn “remark”, expressing a reaction to that subject.


How do you approach the act of drawing? Is this more of a conceptual exercise?

Our office often explores concepts through drawing. We tend to avoid producing drawings that are solely two-dimensional representations of three-dimensional form, but often use drawing three-dimensionally for conceptual exploration. What is presented (as drawing) is often a snapshot of a spatial, form-finding process. Drawing is more focused on an investigation into a given three-dimensional form, rather than a presentation of it. It makes it fun for us to draw when we work this way. The process becomes more spontaneous.

What defined the language of representation and selection of drawings through which you articulate a set of ideas and/ or a physical project?

The language of representation in each drawing is defined by the subject itself, because in each drawing, the subject has been elaborated upon (or “commented” on) based on it’s characteristics. The “comments” describe the subjects. If subjects are consistent, representation will also be.

When it comes to representation and drawing, what are for you the most important tools?

The most important tools for us are the subjects that we have designed because they inform the rest of the drawing. We make our own tools through the design of the subjects.

What is your take on the contemporary digital drawing of architecture? How do you position yourself in relation to the site of the paper?

Contemporary digital drawing is dizzying with too many colors, textures, expressions, and unnecessary techniques. We’d rather maintain a certain sobriety in our work. Perhaps we are able to do that by nitpicking at the logic of all details and techniques that we bring to the table.

What role does the absence of colour hold within your images? How does it inform the principles of the drawings?

Grey works well for us at this point because it challenges us to present variation in our drawings using other techniques.

How do your collaborations within the realm of academia stimulate the work of the office?

Office work can be very personal. You can develop a project based on your own sensibility. Academia requires that your pedagogy be teachable. It requires that you define a clear process so that it can engage with a broader group. You must develop a specific framework or methodology that is flexible enough to allow for other people to engage with it. We aim to have an office that thinks in this more rigorous way.

What is your most significant project and why?

Exploring various design methodologies has been the most significant project for us up to this point. This is reflected in our drawings and in our process of making.