
Skylight in the kitchen.
Draw. Drawing is the tool of the architect on the move, on the run, the architect who is first of all a citizen of the stricken city and the new, dynamic stability. Pen, pencil, and paper are cheap, accessible. They can be used anywhere, and, if necessary, concealed. Drawings, too, can be easily hidden, or they can be exhibited, published, filmed, digitized, and therefore widely disseminated, when the architect is ready to place them in the public domain. Until that time, the architect is freed by drawing’s inherent intimacy to explore the unfamiliar and the forbidden, to break the old rules and invent new ones. Drawings can be made anywhere there is light enough to see. They are instruments of spontaneous experimentation, fluidity of thought, mobility of invention. Unlike models, drawings can describe an immense range of scales with subtlety. And, most of all, draws are fast. That is important because the architects work should not, by virtue of all too-arduous labor, become an end in itself. All effort in projection aims at realization in building, and this in living. This aim cannot be compromised by the fact that not all of the architect’s projections will, can, or should be built.
Lebbeus Woods “Radical Reconstruction”