ABSTRACT
Architecture is conveyed through representation. Distinct from the visual arts, the medium of architecture exists between the actual object being designed and the mind of the designer. 1 We also design through representations. These representations act as a notational system, similar to a composed score for a piece of music, which makes the definition of “representation” in architecture complicated: it is both a likeness of something, and a “set of instructions” to create something else. 2 You do not literally see the sounds of music on a score; instead, a notational system allows you to coordinate between other players, the conductor, and the composer to arrive at a cohesive whole. You agree that the sound of “A” is all the same pitch, and you agree “A” is located in the same place according to clef, and if the score is correctly written and you all agree to the same tempo, music (instead of noise) will emerge through the act of playing. Representation in architecture is made of similar notational conventions and origin points. Like the staff of a score, parallel projection is the basic translational armature that plans, sections, elevations and axonometric drawing all use. Parallel projection is a drawing device that removes any distortion the eye sees in perspective (which permits us to understand depth in space). The technique of parallel projection then creates a drawing that can be measured; its dimensions, through the process of scale, will translate to actual object dimensions. From this basic key, the entire foundation of architectural drawing emerges, which will be used to communicate the future building to contractors and clients through an entirely separate medium from its construction materials.
