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PREFACE:

In the case of architectural drawings, the crossing is mainly between vision and the other senses, in particular the sense of touch. 

 looking at the drawing gives us a sense of the proposed building’s tactile and spatial qualities. 

The process of creating an evocative drawing that aims to “emulate the human phenomenology of perception”  allows us to develop our understanding of what it will feel like to inhabit the physical building.

 Frascari’s proposition is that we all constantly experience sensory crossovers in our daily life, but they are so natural that we are mostly unaware they are happening. 

To create buildings that properly address the body building relationship, however, architects need to employ representational techniques that bring synesthetic experiences to the forefront of their practice.

 This is similar to the way cooks use their skills and various cooking techniques to create dishes that not only look enticing but also have pleasing textures, tastes, aromas, and even sounds: the crunch of bread being cut, the crack when breaking through the caramel topping on a crème brûlée, or Chinese sizzling meat or prawns for example.

 Sound, however, is probably more commonly understood in relation to cooking than eating food. 

In the kitchen, cooks become very attuned to the sound of their dishes bubbling, gurgling, sizzling and crackling as they cook, and this is perhaps more comparable to the technique of using unconventional colors on drawings as a means of understanding and predicting the feeling of being in the constructed building, since both are sensory techniques of production.

Another form of construction-embedded drawing practice was the making of template drawings.

 These were often drawn or scribed directly onto the floors or walls of the partly constructed building or onto purpose-built tracing floors. Masons and carpenters made templates from these drawings, which were used to accurately and consistently guide the cutting of stone and timber elements of the building:

 stone for piers, columns, mouldings, vaults and ribs, and timber for floors and roofs, for example. This is often referred to as “stereotomy” from the Greek stereos(solid) and tomia (to cut).

 Pérez-Gómez and Pelletier point out that as late as the renaissance “the only drawings truly ‘indispensable’ for building (from a technological standpoint) were modanior template drawings.