Edwin Lutyens cited, Lever and Richardson The Architect as Artist (New York: Rizzoli, 1984), p. 1. This axiom is commonly attributed to Mies Van Der Rohe who stated architectural drawings are 'simply letters to Contractors.'
For an introduction to these arguments see Stanley Allen, "Projections: Between Drawing and Building," A+U (1992), n. 259, p. 40-47; Stanley Allen, "On Projection," Harvard Architectural Review (1993), v. 9, p. 122-137; Robin Evans, "Architectural Projection," Architecture and its Image: Four Centuries of Architectural Representation, Works from the Canadian Centre for Architecture eds. Eve Blau and Edward Kaufman, (Montreal: Canadian Centre for Architecture, 1989), p. 19-35, Robin Evans, "Translations From Drawing To Building," AA Files (1986), n. 12, p. 3-18.
Evans proposes this in his discussion of the possibilities of projection in discussing an elevational drawing for the Campanile of S.Maria del Fiore, Florence. Alternatively he proposes the drawing as guided directly, as quoted above, or, as using projection as 'guide rails' that allow some degree of manipulation without 'emancipation.' Robin Evans, "Translations From Drawing To Building," AA Files (1986), n. 12, p. 8.
Stamp: "To mark (paper or textile material) with a device either impressed in relief or intaglio, imparted to the surface by ink or pigment, or produced by both processes combined. Also to impress (a device) on paper, etc. by means of a die or engraved plate." The Oxford English Dictionary (Oxford: Clarendon Press 1989), v. XVI, p. 483
Pliny the Elder, Natural History: A Selection ed. John F. Healy, trans. John F. Healy, (London : Penguin Books, 1991), p. 336.
The term stamp applies not only to the tool of stamping but also to the ornamental mark produced by it.
Alberto Perez-Gomez, "Architecture as Drawing," Journal of Architectural Education (Winter 1982), v. 36, n. 2, p. 3.
Claude Levi-Strauss, The Savage Mind (Chicago: The University of Chicago Press, 1968)
Susan Stewart, On Longing: Narratives of the miniature, the Gigantic, the Souvenir, the Collection (Durham and London: Duke University Press, 1993), p. 135.
Stewart, On Longing p. 144.
Stewart, On Longing p. 173.
Jacques Derrida, "Envois," The Postcard: From Socrates to Freud and Beyond trans. Alan Bass, (Chicago and London: The University of Chicago Press, 1987), p. 33.
Stanley Allen, "Projections: Between Drawing and Building," A+U (1992), n. 259, p. 41.
Stephan Meier, "To Signify Oneself! On Lies in Architecture," Daidalos (June 1983) n. 8, pp. 10-13, 16-20.
F. Nietzche cited, Meier, "To Signify Oneself! On Lies in Architecture," p. 20.
Vitruvius, The Ten Books of Architecture trans. Morris Hicky Morgan, (New York: Dover, 1960), p. 10.
Andrea Kahn, "Disclosure: Approaching Architecture," Harvard Architectural Review (1992), n. 8, p. 4. emphasis added. Kahn continues: "Only when drawing is seen to inscribe its own architectural ground is it possible to accord it both a definitive role in shaping the conception of architecture and a substantive tectonic relationship to built form." p. 18.
Jacques Derrida, "Plato's Pharmacy," Dissemination trans. Barbara Johnson, (Chicago: The University of Chicago Press, 1981), p. 161.
Derrida, "Plato's Pharmacy," p. 168.
"The constitution and the laws of your country somehow guarantee the signature, as they guarantee your passport and the circulation of subjects and of seals foreign to this country, of letters, of promises, of marriages, of checks - all of which may be given occasion or asylum or right." Jacques Derrida, "Declarations of Independence," trans. Tom Keenan and Tom Pepper, New Political Science (Summer 1986), n. 15, p. 10.
Derrida, "Declarations of Independence," p. 10.
"The crime has taken place (and every hymen
intervenes, like a crime, 'between perpetration and the memory of it:' here I
draw a veil over 'La double séance'), and its dissemination dissolves or absolves
it in the crowd only by multiplying it incalculably." Jacques Derrida, "Living On:
Border Lines," trans. James Hulbert, Deconstruction and Criticism
ed. Harold Bloom et al (New York: Seasbury Press, 1979), p. 154. We should remember
here that in Greek and Roman mythology Hymen is "The god of marriage, represented
as a young man carrying a torch and veil." The Oxford English Dictionary
v. VII, p. 549. Hymen then is also a God of drawing, carrying as he does, the two
devices of drawing, the torch to allow the projective practice of drawing, and
the veil upon which the projection is made. But the hymen is also a signature of
death, or more correctly a counter signature as the hymen gives life precisely to
announce death. The death that is 'given' is always requested, demanded, by the
one who receives it, and who immediately signs the death of the other, the other
death in order to live-on (survivre).
Jacques Derrida, "Geschlecht: Sexual Difference, ontological difference," Research in Phenomenology (1983),v. 13, p. 77.
Literally 'existence' or 'presence.'
Derrida, "Geschlecht: Sexual Difference, ontological difference," p. 77.
We should remember here that accessory is originally linked etymologically to access; as in "Coming to or into; coming into the presence of, or into contact with, approach, entrance." The Oxford English Dictionary v. I, p. 72.
"Within the path of his writings too, and the marked impression or inscription of the word Geschlecht will not be irrelevant. That word, I leave here in its language for reasons that should become binding in the course of this very reading. And it is indeed a matter of 'Geschlecht' (sex, race, family, generation, lineage, species, genre/genus) and not of the Geschlecht; one will not pass so easily toward the thing itself (the Geschlecht), beyond the mark of the word (Geschlecht) in which, much later, Heidegger will remark the 'imprint' of a blow or a stamp (Schlag)." Derrida, "Geschlecht: Sexual Difference, ontological difference," p. 65.
geworfen is the past participle of the word werfen in the sense 'to throw:' "jdn ins GefŠngnis etc werfen, to throw somebody into prison etc. ... etw in den Briefkasten werfen, to put something in the letter box;" Collins German Dictionary (Glasgow: Harper Collins, 1991), p. 758.
Derrida, "Geschlecht: Sexual Difference, ontological difference," p. 78.
Derrida, "Envois," p. 56.
Jacques Derrida, "The Spatial Arts: An Interview with Jacques Derrida," Deconstruction and the Visual Arts: Art, Media, Architecture (Cambridge and New York: Cambridge University Press, 1994), p. 19.
"the signature is something other than merely writing down one's own name. It is an act, a performative by which one commits to something, by which one confirms in a performative way that one has done something - that it is done, that it is I who has done it." Derrida, "The Spatial Arts," p. 17.
Etymologically the word 'occult' is used to mean hidden and refers explicitly to those lines "drawn in the construction of a figure, but not forming part of the finished drawing." An obsolete usage describes "a dotted line." The Oxford English Dictionary v.X, p. 680.
Signature: "A person signs a document when he writes or marks something on it in token of his intention to be bound by its contents, commonly by subscribing his name. Illiterate people commonly sign by making a cross." Osborn's Concise Law Dictionary ed. Leslie Rutherford and Shelia Bone, (London: Sweet and Maxwell, 1983), p. 305.
Edwin Lutyens cited, Mary Lutyens Edwin Lutyens: By His Daughter (London: John Murray, 1980), p. 282.