A dream (to call it a dream) in which
I can believe, in face of the object,
A dream no longer a dream, a thing,
Of things as they are, as the blue guitar
After long strumming on certain nights
Gives the touch of the senses, not of the hand,
But the very senses as they touch
The wind-gloss. Or as daylight comes,
Like light in a mirroring of cliffs,
Rising upward from a sea of ex.
— From “The Man with the Blue Guitar” by Wallace Stevens
Drawing has been the primary domain of architecture since the Renaissance. While architectural drawing is most commonly understood as a model for engineers and builders to construct a building, it can also be treated as an end in itself — an art that engages its creator as such, and whose product can be traded on the open market. Whether ideal form that prefigures messy built reality, or device that expresses its creator’s perspective and abilities, the drawing is an object that fixes a version of reality.
For this issue of Texas Architect, we asked 10 currently practicing architects and architectural designers from across the state to send us drawings that figure their conception of Texas. We also queried them about how they work. Some of the images presented here were produced by analog means; some digitally; and some by hybrid digital/analog processes. Seen together, in succession, they convey some of the diversity of architectural production as it’s being done today in Texas.