The article analyses Frank Gehry’s insistence on the use of self-twisting uninterrupted line in his sketches. Its main objectives are first, to render explicit how this tendency of Gehry is related to how the architect conceives form-making, and second, to explain how Gehry reinvents the tension between graphic composition and the translation of spatial relations into built form. A key reference for the article is Marco Frascari’s ‘Lines as Architectural Thinking’ and, more specifically, his conceptualisation of Leon Battista Alberti’s term lineamenta in order to illuminate in which sense architectural drawings should be understood as essential architectural factures and not merely as visualisations. Frascari, in Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architects’s Imagination, after having drawn a distinction between what he calls ‘trivial’ and ‘non-trivial’ drawings—that is to say between communication drawings and conceptual drawings, or drawings serving to transmit ideas and drawings serving to their own designer to grasp ideas during the process of their genesis—unfolds his thoughts regarding the latter. The article focuses on how the ‘non-trivial’ drawings of Frank Gehry enhance a kinaesthetic relationship between action and thought. It pays special attention to the ways in which Frank Gehrys’ sketches function as instantaneous concretisations of a continuous process of transformation. Its main argument is that the affective capacity of Gehry’s ‘drawdlings’ lies in their interpretation as successive concretisations of a reiterative process. The affectivity of their abstract and single-gesture pictoriality is closely connected to their interpretation as components of a single dynamic system. As key issues of Frank Gehry’s use of uninterrupted line, the article identifies: the enhancement of a straightforward relationship between the gesture and the decision-making regarding the form of the building; its capacity to render possible the perception of the evolution of the process of form-making; and the way the use of uninterrupted line is related to the function of Gehry’s sketches as indexes referring to Charles Sanders Peirce’s conception of the notion of “index”.

中文翻译：

---

弗兰克·盖里（Frank Gehry）的自捻不间断线：以手势绘图为索引

文章分析了弗兰克·盖里（Frank Gehry）在其素描中坚持使用自动扭曲的连续线条的坚持。它的主要目标是：首先，明确显示格里的这种趋势与建筑师如何构想形式的关系；其次，解释格里如何重塑图形构图和将空间关系转换为建筑形式之间的张力。这篇文章的主要参考资料是Marco Frascari的“作为建筑思维的线”，更具体地说，是他对Leon Battista Alberti的lineamenta一词的概念化，目的是阐明应该从哪些意义上将建筑图纸理解为必不可少的建筑要素，而不仅仅是视觉化。弗拉斯卡里建筑制图艺术中的十一项练习：建筑师想象力中的慢食在区分了他所谓的“平凡的”和“非平凡的”图纸之后，也就是说，在通信图纸和概念图纸之间进行区分，或者将用于传达想法的图纸和用于其自身设计的图纸传达给自己的设计师，以便在设计过程中掌握想法发生的过程-展开他对后者的想法。本文着重介绍弗兰克·盖里（Frank Gehry）的“非平凡”绘画如何增强行动与思想之间的运动美学关系。它特别注意Frank Gehrys的草图作为连续转换过程的瞬时具体化的方式。它的主要论点是，盖里的“绘画”的情感能力在于将其解释为对重复过程的连续具体化。他们的抽象和单一手势绘画的情感性与它们作为单个动态系统的组成部分的解释紧密相关。作为弗兰克·盖里（Frank Gehry）使用不间断线的关键问题，该文章指出：增强手势和有关建筑物形式的决策之间的直接关系；它有能力使人们认识到制版过程的演变；以及不间断线的使用方式与盖里的草图作为索引的功能有关，这些引用是指查尔斯·桑德斯·皮尔斯（Charles Sanders Peirce）的“索引”概念。增强手势和有关建筑物形式的决策之间的直接关系；它有能力使人们认识到制版过程的演变；以及不间断线的使用方式与盖里的草图作为索引的功能有关，这些引用是指查尔斯·桑德斯·皮尔斯（Charles Sanders Peirce）的“索引”概念。增强手势和有关建筑物形式的决策之间的直接关系；它有能力使人们认识到制版过程的演变；以及不间断线的使用方式与盖里的草图作为索引的功能有关，这些引用是指查尔斯·桑德斯·皮尔斯（Charles Sanders Peirce）的“索引”概念。