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The Construction of Drawings and Movies (Routledge, 2012) demystifies the construction principles of linear perspective and cinema in order to promote analytical (as opposed to pictorial) strategies of architectural projection. Derived from an interpretation of Alberti’s famous distinction between painterly and architectural representation, it argues for abstraction over literalness in the design process and thereby undermines the assumptions of phenomenological immediacy associated with linear perspective, cinema, and common digital modes of imagery. Its reading of linear perspective is rooted in sixteenth century mathematics, exemplified by Gérard Desargues, and its understanding of cinema is rooted in experimental methods of abstraction, exemplified by Hans Richter and Michael Snow. The book criticizes phenomenological theories of architecture as overcorrections against the severity of late Modernism and/or the frivolity of early Post-Modernism, and it posits a design process based on a tenuous balance between reason and absurdity. It promotes rigorous proto-computational methods of graphic inquiry, and it simultaneously considers design, especially in the contemporary era, to be a Sisyphean act.

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