ABSTRACT
Whilst axonometric drawing predates the Modern era, it was the 20th century which saw the greatest proliferation of this convention. JJP Oud is used to discuss the modernist preference for axonometric drawing more generally before moving on to discuss the substance of his contribution: the variety of scales at which he was comfortable working.
As an architect of the De Stijl movement, Oud is immersed in discussions of the totality of the work of art, as shown in his projects, which range from district-scale urban design projects all the way down to furniture designs.
As such, this chapter explores the historical context of the axonometric drawing and its affordances. Following from this, is the fundamental idea of scale. Oud was a proponent of standardisation in architecture, seeing the potential efficiency of common detailing as well as larger architectural elements—but always with an eye to the spiritual role of building and dwelling.
