Librarian City Club © Jakob Jakubowski

Translations From Drawing To Drawing

 

BArch 4 Studio: Ecology Sustainability Cultural Heritage

Hannes Stiefel | Luciano Parodi

To draw is to convey 1-4
       
"On these planes there is no concern to represent … it is a task of multiplying a single intuition: of seeing it appear in all its possible forms… "
Enric Miralles, Lugar / Place

1) The possible functions of drawings in the development of Cross Media Models, the main design tool of the ESC Platform, and for Cross Media Models as such have not yet been comprehensively discussed. While animations and combinations of physical and digital 3D models are used and understood as transformative design vehicles that investigate relational spaces, relational fields and performances, drawings are often used or perceived as mere means of representation. It’s time to challenge and to augment the reciprocal functions of drawings in this context.

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Translations From Drawing To Drawing

 

BArch 4 Studio: Ecology Sustainability Cultural Heritage

Hannes Stiefel | Luciano Parodi

2) Robin Evans’ seminal essay Translations from Drawing to Building (AA Documents 2, The MIT Press, Cambridge, Massachusetts 1986) provokes a series of questions that are of particular interest for our challenge. The nature of architectural drawings has decisively changed and expanded through digitalization since 1986. And so has the nature of the spaces through which meaning moves (and is refracted) by translation from drawing to model, from model to drawing, from drawing to building (another model), from drawing to drawing, from all the diverse media e.g. to film and back. Our interest lies in the productive distinctions between source and translation, and in the conditionalities of these distinctions. The relation between the “original” and its translation is inevitably ambiguous, and it is interesting that the Austrian author, translator and Nobel Prize winner Elfriede Jelinek, who has repeatedly stated that as a translator, she supports methods of relatively literal translation, nevertheless concludes, “The translation cuddles up to the original like the sheep to the wolf” (Wespennest 73 (1988), pp. 24-26, with Karin Fleischanderl). Such coexistence and productive reciprocity requires not only a strong source, but a translator who will take a stand.

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Translations From Drawing To Drawing

 

BArch 4 Studio: Ecology Sustainability Cultural Heritage

Hannes Stiefel | Luciano Parodi

3) In the above-mentioned essay, Evans offers other identically prefixed nouns to be used in addition to the term translation, depending on the particularities of each individual act of conveying: transfiguration, transformation, transition, transmigration, transfer, transmission, transmogrification, transmutation, transposition, transubstantiation, transcendence (pp. 181-182). Many terms on this incomplete list – to which we would like to at least add transcription – were widely discussed in previous ESC BArch4 Studios (Vienna Reflections (2014), On Stage (2015), Facts and Fictions (2016) and Vorgriff (2017)), particularly with regard to the platform’s understanding of the function of cultural heritage as a transformative practice, in strong contrast to a duty of conservation. This controversial debate will be intensified.

4) To translate is to draw a distinction.

 

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