What? To explain the happened.
In relation to the drawing, as necessary tool for the expression of the project, the contemporary architecture already does not conceive without the inflation of the graphical representation of the plane, an inflation parallel to the bureaucratic growth of the written documentation of the own project, fruit of the obligation of use, the majority of the times, of forced and irritated regulations to the service any more of the insurance ones that of the citizen and user of the architecture.
Still, and very in spite of this formalization of the means of representation, the architecture, intense and royal, it would not be indeed if another drawing did not exist either, previous (because already it existed when the planes did not exist, we refer to the traces of the monteas of the construction teachers of the antiquity) and also later to the plane, the drawing work. A drawing that succeeds and perfects the order and measure of the ideal trace of the office, as abstract place, adapting it to the last material reality of the process of work.
Where? The place of the facts.
When? The moment in which they presented the facts.
We begin with an obviedad, which relates to the reality of the drawing about which we speak: to do drawings works it is necessary to be in the work, always, almost always. They do not exist so, drawings works without stopping in the speech of the vigilance of the constructive process. The drawing work owes to the stop and almost last reflection about that he thinks about architecture and wants to say it to take time, something more, a last delay that fixes the ideas and removes the unforeseen one of the place of the action …
This type of drawing contacts us with the reality, in a world of ideas and parameters seen like fixed and unremovable but that finally are not true. Because of it we are interested, because we are demonstrated by the lack of constant success that to think up of the mental processes frete to the royal ones has. The questions of the architecture, since of the rest of human actions, almost are never exactly equal to what we were foreseeing, so there we find the hollow place – time, for with the drawing work to put in agreement, the probable thing with the really possible thing. The drawing of the laboratory, that of the project, is a drawing that he imagines to the reality, but it it is not, is an ideal, sometimes very pretentious drawing, since saying, prepare for yourself future, which like that is going to be. Nevertheless, the drawing work says to us that the life and his construction are full of small fractures and misunderstandings with which it is necessary to negotiate to make to come to good port. It is for it that the drawing work almost always is a drawing on a large scale 1/1 and that it refers mainly to the detail, to the meeting, to the adjustment between measures at the head of the eyes. It does not suit to confuse the drawing work with the brands of work, the references of height and of right and left side, own of plumbers, electricians, installers, etc these are adjournments of the plane to the wall on which it is discussed, but in that the polite game of the success does not exist, not even the creative dialog between the architect and the official looking for the best possible one for all, and especially towards the constructed.
Who? The involved ones in the fact.
It is in addition, and it pleases us exceedingly, a drawing in which the discussion and the dialog already do not take place so much with the supposed high hierarchies of the work, but with the operative and the official. Those persons who during the whole long process proyectual of the office have been beyond and who now approach and are demonstrated indispensable for the adjustments of moor from the ideas to the wharf of the truth. Across the drawing work the officials demonstrate us all his capacity and we ours, coming to consensuses that the paper of the plane, to a scale already so remote, does not allow. It is like that because to draw to 1/1 or to 1/2 on the wall or in the passbook of work allows us to put the fingers in the sore of the reality, because the mm become finally royal. A dialog in which there solves what line it kills to which, which it joins is convenient more for his shade, her of 3mm or her of 5mm, that it borders continues up to the meeting, what will will to stay finally ahead or behind, or if the air happens for a meeting… They are all small examples that betray the need of a drawing as royal as the material to which they represent and which one sees to the front. The drawings works, so, are not done in order that the others them deal with the distance, with certain laxity discussed not to understand itself (as those of the project planes and office), are done on the contrary the whole world, we understand the first ones, now already at the end of the way.
How? The way in which one gave the event.
The drawings works are done in passbook or in the support of the wall or the soil. Those of passbook, almost always doubles are done, one for you and other one for us, and on having done the second one still other corrections appear. The above mentioned remove for house, (the architects in spite of all the transformations of the trade, we continue thinking the office as the domestic space) and are rethought in the car, of way of return, then they are scanned and / or are sent finally by fax or e-mail to work. A variant of these drawings that are not done in wall or soil they are the drawings in table, on a chunk or waste of material that facilitates a flat surface for the discussion with the pencil. These are very own and habitual of the conversations with the carpenters and these tables end up by being like a rigid notebook accumulated in the office until the corrections pass to paper and again to the fax or e-mail.
Those of wall or soil, unlike the previous ones, end for being fixed and last in the sense of final determination and notarial record of the labors to realizing in an immediate way, there they are at the disposal of the execution for tomorrow itself. These probably are the most literal but also literary, because they are brief grafitis condemned to his coverage for the painting and the trasdosados. They are for some last hours the most important and necessary drawings, but nevermore they will return to be seen, that one is his sentence. They are drawings to lifted hand, but measured by the meter and / or annotated, already there is no space for any more interpretation it will be like that, under the general consensus. Even when they are ruled, drawn perfectly to set square, they can be used, as the example that illustrates these words, like the traditional monteas, to use as royal and immediate mold to the construction and raising of the architectural element.
Not all the architects do drawings works, though they are attentive and extraordinary professionals, but those who do them, seem to want, justifying sometimes a false infamy, to prolong selfishly the precious period of the constructive lack of definition still a few days more, a few minutes more, enjoying the idea of the unfinished thing and the blemish controlled of a project opened towards the best of the ends, that of the work accompanied until the last day.
Luis Gil Pita, architects
Santiago de Compostela, july 2017
Arquitecto por la ETSA de A Coruña en 1997, desde ese año colabora en el estudio de Manuel Gallego Jorreto hasta 1999. Becado de investigación en Holanda en 2000-1, con un estudio sobre lo fronterizo y liminar en arquitectura, por la Diputación de A Coruña, fue posteriormente Profesor invitado en el área de proyectos de la Facultad de Arquitectura de Guimaráes, Universidade do Minho, del 2001 hasta el 2007. Desde el inicio de su carrera ha publicado asíduamente artículos y ha participado como editor en diferentes publicaciones alrededor de la arquitectura.