At Elding Oscarson we love drawing by hand.
We use it in our everyday notebooks, meetings or lunches to talk, share and make architecture. It almost transformed into a language of its own, half intuitive – half reflective, half naive – half serious. Some drawings we do are completely disconnected from proportions and are just compositions of shapes on a blank paper or ways to explore lines.
Behind the poetic of the shivering line, the beauty of imperfections, drawing by hand has become an impressive tool for us since it can be implemented in every scale from master plans, plans, sections to details. It is often not necessary to redraw the spontaneous lines since they are enough to carry the ideas trough. Last week for instance we had to deliver a one-day-pitch for an exhibition; by defining the concept with pens around a table and then drawing some axonometric drawings we saved an enormous amount of time. The result was abstract enough but still illustrative and more than all, it helped us to keep to project to the essential.
More than a tool, we consider hand drawing as an esthétique that goes far beyond the action of drawing with a pen on paper, even into computer drawings. The pen transforms into a mouse but the movement remains, the hand keeps freedom and dexterity. Actually, the field of drawings is quite borderless and can be implemented, experienced in so many ways. At Elding Oscarson, we always try to discover new ways, to expend the potential of drawings to represent architecture. You can see such examples in Townhouse publication drawings drawn with free mouse and collage or the plan of Röldal Rilgrimcenter where the splines keep the freedom of hand drawn lines.
As much as you can hear the notion of paper architecture you could talk about free hand architecture. It is about freedom and generosity, some parts fulfil the requirements of architecture but you also have this extra layer of pleasure, of subjectivity, of poetics, of imaginary.
Tristan Zelic / Elding Oscarson