| Summary: | This thesis maps out four lines of thought which propose drawing as the material practice of architecture. The first line follows the clockwork diagram that underlies the whole of time, space, and therefore, drawing systems within Western culture. The second line follows the effect the clockwork had upon developing projective drawing systems, and how these techniques of drawing were essential in producing architecture as an autonomous, remote profession. The third line of the thesis develops a philosophy of the drawing act or the performative diagram, which opposes itself to the rationalized time and space of the clockwork drawing systems by insisting on the real time of the act. The fourth line of thought in the thesis, which encompasses all other lines and is continually constructing itself, involves the various acting spaces or drawing acts produced through operating within the material practice of following the line.
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