Make Mistakes


This collection of drawings (2014 – 2017) presents some of our last mistakes. A mistake, in itself, is a departure from what is commonly considered a rule or a habit. It means a detachment that disorients creating a place in which questions and possibilities multiply endlessly. An uncertain margin that often gives the opportunity to open new horizons and the freedom to change trajectory. We don’t know how long this anthology of slips and faults can adequately describe the personal research path in the field of the project and the representation of architecture. In any case, at least two facts are true.

This album contains only the original drawings of the selected projects. They are here reproduced in the way they have been elaborated in the beginning, without any of the changes that the will of the clients or the demands of the construction after required. The selected drawings are the result of contaminations and collaborations established in these years with architects, landscape architects, students and illustrators. From a graphical point of view, this makes them very heterogeneous.

First, the collection shows up as a clearly-not-complete frame of the contingency, even a sort of illogical call for error and imperfection. But this album of drawings, in truth, would aim to outline a practice: that is not particularly interested in defining a recognizable or immutable code of expression and telling, but instead it is very passionate in shaping a process as much as possible adaptive, formative and voluntary.


What role does the drawing play within your endless sequence if iterations?
 How and to what extent are conversations held in and around this medium?

When you don’t realized a project you designed, the drawing is all that you have got left. It ensures the best intentions and desires of the designer/s in the first place.

The images that we realized don’t need to describe a project in the best way possible, but are tools to represent our vision of space and architecture in that specific moment, such as a snapshot.

What defines the way you approach the representation of a project? How does each project inform the type of drawings used?

We don’t have a precise line or rules established in advance. Like the projects, the drawings are only the result of what we think, what we see, who we meet and what we are into in that specific moment. So, we can say, that the best way to represent something is the way you choose. Choosing is designing.

You frequently collaborate with other studios, how does this work in both the development of the project and when crafting the final images? What is for you a productive architectural collaboration?

We never work alone. And we never produce drawings without having a commission (private or public, competitions, exhibitions..). So every design/drawing is affected by the composition of the design group, including clients.

In some collaborations, often ends to prevail who has a more incisive and developed graphic method. In those cases (when we aren’t the one who drives), we generally embrace the situation as an opportunity. For us, graphic language has nothing to do with identity but with willingness.

How does the project you do reflect how you operate as an architecture practice?

Lately, we are agreeing that our way of designing is more frequently marked by a series of mistakes. Make mistakes is becoming a sort of joke between us, a slogan, or perhaps a mantra. Make mistakes is an approach that, from one side, hinders and wastes time, but, from the other, sets an argument and it obliges to recalculate the trajectory. In this particular moment, you are stuck in a interval but you also have a new margin, a freespace to image something else. Many of the projects we are happier about, have this common ground.

From interior to exterior perspectives, what shapes the way these are staged and framed?

We are interested in representing a space or an architecture through imagination. And, above all, what we choose to draw must have the capacity to let you imagine all that you don’t see in the image.

What is your take on color? What role does this play within your visions?

Color is one element. In our images, it not always corresponds to a specific material and doesn’t have a real transposition in terms of texture and chromaticism. Colors are used to bring the accent on some essential aspects of the project.

What is your most important tool when it comes to drawing?

Obviously imagination.

What is your take on the contemporary realm of digital representation?

It seems that we are – FINALLY – abandoning the use of hyperrealistic images. The adherence to reality is one of the worst qualities that you can ask a drawing.

How do you position yourself in relation to the site of the paper?

Good question.. We’ll think about this!