Drawings as things In and of Themselves.





Drawings, in general and architectural drawings specifically, span an array of definitions. They remain primary to the work of the architect but are not innocent, protecting a range of biases and conceits. While highly visible, these representational ‘partners in crime’ remain in the blind spots of the profession, frequently deployed uncritically. I attempt to augment the ‘taken for granted’ roles of the architectural drawing acknowledging that as the architect changes, so too may the roles of the architectural drawing.’













Drawings as things In and of Themselves.

Perry Kulper

‘I am interested in the scope of architecture, in the roles of drawing, in broadening design versatility through diverse design methods and in re-conceptualizing architecture. I consider the labor of work, the language of representation and the language of architecture, latency in drawing and the crisis of reduction.’

No artist realigned the nature of artistic production more than Marcel Duchamp. The ready-mades overtly challenged a pair of historical trajectories for the definition and production of art. One, that art should be unique and two that art should be produced by highly trained artists. This ‘release’ of the artist from the conventions of their practice has been of substantial consequence in the questions, and processes that have affected the lineage of my work. Some of the drawings included here build relations to some of the key questions posed ‘through’ Duchamp and the ‘un-making’ of traditional artistic labor towards identifying the scope of architecture.

Perry Kulper is an architect and Associate Professor of Architecture at the University of Michigan. Previously he was a 17-year SCI-Arc faculty member and held visiting teaching positions at the University of Pennsylvania and Arizona State University. Subsequent to his graduate studies at Columbia University he worked in the offices of Eisenman/ Robertson, Robert A.M. Stern and Venturi, Rauch and Scott Brown before moving to Los Angeles. His interests include the generative potential of architectural drawing, the outrageously different spatial capacities of diverse design methods and in broadening the conceptual range by which architecture contributes to our cultural imagination. He has recently published Pamphlet Architecture 34, Fathoming the Unfathomable: Archival Ghosts and Paradoxical Shadows with Nat Chard.





This site uses Akismet to reduce spam. Learn how your comment data is processed.