Models
Ever since I started, since my very first projects, I have translated drawing into wire. I believe our architecture describes precisely that which makes it possible, and tries to make visible those essential lines, necessary to its comprehension. I am not so interested in the structural purpose of these lines as I am in the role they have in the conception of the project. It is these lines that are responsible for verifying the potential of any drawing, its necessity.
Drawing in space enables me to efficiently verify the validity of the drawing itself.
Evidently these wire constructions form part of the process. Our spatial constructions are never of the finished project. Certainly, the current means do a much better job of visualizing the result than these constructions do. We make then solely as a means for our understanding, and in any event they help us in our search for the internal coherence of the project itself.
Really, this way of working turns our studio into a space of investigation, of systematic development of the design process, which enables us to have discourse of our own, personal and beyond a strictly architectural production.
And also enable us to talk about nature as the origin of all these geometries and aspirations, transformed in architecture, we continually draw and redraw to make them comprehensible and find a raison d’être.
My teaching work in this sense acquires connotations which are more instrumental than conceptual and affords the student a personal environment completely independent from mine, which is, in my mind, the way it should be. The distance that exists between the work of the student and the instructor might be a good measure of one’s worth as a teacher.