“…we think that the drawing in architecture, that is, the unconscious act, which calls logic into question, could be the “blind spot”. The coincidence that is not a coincidence, leads us to a method of design in which the drawing becomes important. Free from physical constrains, without thinking about spatial consequences, the drawing comes into being an instant, and “administrates” the building. And when you see the drawing, created in an explosive moment, you see the superimposition of plan, elevation and section. Everything is in drawing.”
Wolf Prix, LectureDresden, 1995
"If “action painting” is produced by the dynamics of dripping, smearing, and sweeping brushstrokes of paint to reveal the complex character of abstract art, then “action drawing” would be something like juxtaposing lines, planes, volumes, typographical elements, photographs, and paper cutouts on a drawing that aims to uncover the intricate universe of architectural ideas"
WAI - Drawing Architecture / A conversation with Perry Kulper
"By 1979, I was making these drawings every morning. As a method of catching intuition and first thoughts it is a technique which sets the imagination free.
In the meditation associated with the initial conception of a building, its first stirring towards form, space and light, the watercolors played a crucial role: they gave intuition a primary position.
(...) Chance operations opened many paths for the composer John Cage, my next door neighbor who lived on 6th Av in NY. Cage used chance protocols to escape the tyranny of the ego. He recommended unintentional acts as key aspects of his method"
Steven Holl - Written in Water