“Unorthodox orthographies”: projective deregulation for depicting time from Le Corbusier to OMA

Architectural drawing follows a projective canon that was established at the end of XVIII century in the Beaux-Arts cultural environment. Its operational procedures are mainly ruled by Gaspard Monge’s Descriptive Geometry as well as graphic standards’ diffuse adoption but they have been conceived primarily to represent spatial phenomena. The former fundament allows drafters to produce a two-dimensional image from a three-dimensional reality but only at a specific time. The latter one offers the opportunity to associate symbols and signs to specific meanings but their comprehension is possible only when transmitter and receiver share the same cultural background and, moreover, it is changing in time. In XX century a growing number of artists and architects has found this representational canon a bit too restrictive as it does not allow to represent time flowing but only space. They were obviously influenced by cubist researches as well as photographic and cinematic pioneers but, most o