The late architectural theorist and professor Lebbeus Woods has the following to say about the Line in his blog (which is still one of my favorites, even though it is no longer updated):

“Line is precise and unequivocal. It is here, not there. Making a line is not about accidents. Rather, it is about contour, edge, shape. It is about where one space begins and another ends. It can be spontaneous or studiously deliberate, but it always carves space in a decisive way. It has a clear ethical, as well as aesthetic, impact. The drawn line is one of the great human inventions, and it is available to all of us, a tool both common and esoteric, personal and universal.”

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Leopold Lambert, in the introduction to his blog Weaponized Architecture,’states: “One line, indeed, has the capacity of splitting a milieu into two distinct impenetrable environments. One line can also encircle a body and imprison it within the space it frames.”


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A few of these drawings can be found in an online publication of my sketches abroad:

I started to take photographs of my walks, specifically of my feet, between home and the College of Design. Despite the delightful glitches, these stitches show that lines are present in every frame (click to enlarge). Each stitch has a continuous line that both enters and exits the image.




Lines are valuable to draw for all of these reasons, maybe it is with love for their forms and respect for their capacities; maybe it is because we, as humans, are verticals intersecting an infinite horizon-tal; maybe it is because if our designed environments equate to nothing more than lines on a page, inscribed somewhere and forgotten in the deep recesses of an architect’s storage closet, then we might too have the capacity to transform them and alter them.

Lines are authority made physical, and to wield them is to have some authorization. Lines are productive edges of confrontation, of ‘contour, edge, and shape’, where the separated directly engage their separations.

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