The pencil drawing that I see before me in the two-dimensional surface of the paper when I record my first idea is the projection of the structure of space. A line drawn as a symbolic thread in space and the shadow cast by the hand is already the representation and bending of planes. For me, the line-like appearance of light in space has the same evocative power as when it is seen on or before the surface of different planes.

Thus, the line drawing as a starting point can signify a track or a borderline, but, in terms of its abstraction, in architectural drawing it does not extend beyond the plane of the paper. It is revealing how in relation to drawing ropes tautened by gravitation guide the viewer’s eye into space and with the extended dimension give an insight into the practical role of the reading of drawings and spatial vision.

The light-line is a natural tool used in the creation of space. The starting point for my research into sunlight is that in architectural practice the line drawn with light on a two-dimensional surface exits into space without its physical characteristics being changed. It fills space even if we do not always perceive it equally or if shadow lines occasionally interrupt its path. When I draw an architectural line I always try to outline the borderlines of this dimension either by projections or in other systems of graphic representation our eyes have learnt to see.

My thoughts organise my movements and guide my hand according to these dimensions. For me the archetypical line is one whose borderline in space is determined by the planes defined by light and its temporal borderline by the change of natural light.

However, in my research I went further. I have experienced on many occasions that in the above described basic propositions lines drawable with light often and by necessity can produce spatial formulae in broken planes or by meeting curved surfaces. The form shadow and the cast shadow in this context highlights the importance of the line, which, as the end of a process of abstraction, I try to represent in all the architectural drawings I make. It is my intention that in a sketch the line articulates the same idea as the spatial experience of light will later on.