If, as scientist and philosopher Michael Polanyi states, that “we know more than we can tell,” then can we draw more than we know? What is the act of knowing through drawing? When is this moment of knowing, and how does it happen? Ultimately, even in architecture, the work itself stands independent from intent; knowing, or perhaps demonstrating, more than the author or we can tell about it. The Gnomon, explored in the later chapters of this book, is the apparatus that inhabits and articulates these questions; it collects the non-intentional residue of imagination, process, and speculation. Eventually, it will, and must, project an emergent geometry, one that assimilates the traces that have been “known forever in the mind” (Agnes Martin). Through anticipation and ultimate inhabitation of the Gnomon, a penultimate event, we are offered a projection into a Trace Dimension.
Master’s Thesis, RISD: Full Text
PART I – The Event of Drawing
PART II – Following Fish
PART III – Projecting Shadows
PART IV – The Gnomon