Architectural comprehension as a field deals with representation as a synthesis of varied efforts —constructive, compositional, spatial, and technical qualities— which are then articulated in the constructed building. For this purpose, it is essential to think about the graphic representation that presupposes all these efforts, since it is both a procedure and a product of architectural design.
In this sense, it can be understood that architectural debate throughout history, at different periods of time, was translated into drawings. The drawing exercise refers directly to the discourse behind the work of architects of all schools, movements, and periods. Therefore, in addition to the aesthetic, formal and constructive choices, representation options are also a topic of debate among professionals and theoreticians in the field.
In a text on contemporary design strategies in São Paulo, Mario Biselli and Ana Gabriela Godinho Lima say:
As an intellectual and cultural product, architecture has much to say and contribute; it is an activity that calls for and mobilizes a kind of synthetic, syncretic and dynamic intelligence. [1]
Floor plans, sections, and elevations are a traditional representational triad that architects use in their projects. However, it is possible to infer that the section is, and historically has been, the most interesting drawing since it is understood as a representation of the architectural design itself.
