This exercise relies on a tension between the shifting notion of footprint and plan counterposing them on two sides of a sheet of Mylar. The theoretical and temporal gap between a Renaissance notion of the footprint (Lat. Ichnography) and the modern idea of the plan (horizontal section) inspires the construction of this 2-sided hybrid drawing. The drawing allows experiencing the depths of orthographic projections and paper depths as a medium analogous to architectural space. The layered space between these two moments/notions in history offers the imaginative lens to experience a deep orthographic gaze in the medium of Mylar capturing a three-dimensional space between footprint and plan. 

Earlier, the model was recorded on a blueprint as the horizontal projection of lines and shadows becoming a track‐drawing (multimedia course exercise), that traced the point of contact where each element is anchored to the ground. Placing the model on paper mimicked the grounding of the labyrinth on the site. Shadows were cast in real-time expressing the sensuous presence of human inhabitation, while the sun gave orthographic light‐weight presence to the labyrinth in the medium of cyanotype on watercolor paper.

Victor Stoichita. A Short History of the Shadow. University of Chicago Press, 1997.

Frascari, Marco. 2011. Eleven Exercises in the Art of Architectural Drawing. Slow Food for the Architect’s Imagination. London and New York: Routledge.

Goffi, Federica and Adriana Ross. “Transmedial Time Constructs: Four Causes for Accidents in the Making.” National Conference on the Beginning Design Student (NCBDS), 2018.

Zumthor, Peter. Thinking Architecture. Birkhauser, 2006.