Drawing as a metaphor for design: drawing as image, project as representation.

In this paper, the object’s evocation and experience is considered through the analysis of drawing as function to disciplinate the project.

We depart from the argument that drawing is the visual language to imagine, analyse and to make the project’s materiality visible. Drawing, whereas function to materialize the project, in the condition of ‘existing for…’ in this case mediates representation (technical expression), is a classification act that discriminates and affects the project (program) and is imagination’s interpretative mark (authorship).

The subject we propose to develop is drawing as a set of images which whilst language shape the projectual reality. We will interpret such presence regarding the object as representation’s reality. We will address the ‘era of multiplicity’ issue, the ‘open creativity’ enabled by the widening of design’s projectual field due to knowing through drawing, hence, not as the discipline’s conjuncturally adopted values but as a result of the widespread practice of drawing.

In this case, drawing is an instrument to convey and interpret a particular cultural expression, transferring it onto the project, making it acquire a particular symbolic inscription.

We start from the hypothesis that symbolic and cultural influence on a given space acts as a differential for projectual outcome, conferring the object its particular identity. We justify the hypothesis through drawing’s importance as visual language, deriving from the artistic field due to its contingency within western culture. Therefore attributing drawing, through the body mediated experience, the ability to be a critical interpreter of the project, releasing the design object from its exclusively technical dimension in content configuring. Our drawing interpretation context focuses on the practice of Portuguese designers whose work has been warranted with peer recognition. This investigation aims at scientific integration of the ontological analysis of drawing through several examples of project’s drawing gathered in the frame of the present research. The images 1, 2, 3 are a few examples, among others, that we will discuss in the full paper.

We intend to verify drawing use mode, in order to contribute towards design knowledge through authorship perception conveyed through three vectors: 1. in its authorial and imagetic mode, 2. in its technological and classifying mode, 3. in its programmatic and representative mode.

To conclude, we propose drawing as a language − for multiple perceptions, probably fragmented, fissured, eventually mismatched − transfigured into project’s metalanguage.



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Year 2012
Type Conference Proceeding
Publication UNIDCOM/IADE’s 6th International Conference, Senses & Sensibility in Lisbon: Advertising, Design, Fashion, Marketing, Photography and Visual Culture in the Right Place.
Pages 151-166
Publisher UNIDCOM/IADE - Research Unit of Communication and Design
Local Lisboa, Portugal
Ed/Org E. Côrte-Real, C. Duarte, F. Rodrigues (coord.)
ISBN / ISSN 978-989-8473-04-2
Language English