Drawing movement before architecture: Theatricality of the objectively vague

As both an architect and a drawing practitioner, I work at the intersection of the real and the construction of reality, where the theatricality of the acts between the unthought, the unsaid, and the unseen or unfathomed move towards learning the how to of embodiment. We can never be certain, but only objectively vague, as to how the drawing process happens in space and time, and, in my case, how it will enact and embody movement before architecture. Drawing from examples of modernist, experimental art practices, which embodied movement into drawing by employing indeterminate strategies – for example, László Moholy-Nagy and Marcel Duchamp – I introduce movement as an instrument of preparation, arrangement, transformation and simulation. Starting from what is made, drawn or borrowed transforms carefully prepared scenes into an unexpected reality in which the author makes all possible preparations but cannot fully control the outcome.