The series started as a study of compositions that distinguish between the real and the implicit, thus understanding the relationship of space to function and place to meaning. Resulting in a set of formal relationships based on the inherent logic in the geometry itself. During this process, no consideration was given to the wholeness of architecture but rather to the relationships of shapes so that they are realised in a way that is non-accidental and purposeful to the conception of the work.

The juxtaposition of solids and voids produced these compositions, which were continuously triggered by the tension between spaces due to their size and shape. The sense of articulating these spaces comes from our conception of their precise location.

Transformational methods learned during these years established a code for arrangement that were intentionally distorted, freeing it from externally determined motives, due to which space could be structured to a physical environment in a logically consistent manner, potentially independent of its function or its meaning.

The realm in which these diagrams are created has its own limitations, the limitation of blankness, where there is no context to challenge other than one’s own consciousness of daily thoughts and experiences. In this sense, the problem was never to design an object but to build a design thinking free from traditional authorial constraints.

The process itself becomes an object—not an object as an aesthetic experience or a series of iconic meanings, but an exploration into the range of potential manipulations latent in the nature of architecture that are unavailable to us because they are obscured by cultural preconceptions – Peter Eisenman.

The drawing is part of a long running series of architectural diagramming which started in 2015 under the mentorship of Ms. Hetal Shah.

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from left to right:
It has a quality of emptiness and purity even though the journey is complicated.
Mind’s relentless reviewing of the comprehensive experience.
From the gods of wisdom to the slaves of commerce.
The gods converse with its ephemeral sense.
To draw means to test.

Medium:
Pencil on Indian Postcard

Credit:
Hetal Shah & Joseph Mathew
perspective to architecture