This article explores the critique of modernity performed by the unbuildable architectural drawings of Lars Lerup. Focusing on a single drawing entitled ‘The Opening’ (1980), it questions how uncertainty in architectural drawing can operate discursively to interrogate the functional concerns of representational accuracy. The article considers the contribution of this drawing to Lerup’s unbuilt Nofamily House project (1980–1981) and examines his commentary on the 1978 MoMA retrospective on Swedish architect Gunnar Asplund (1885–1940). In so doing, it demonstrates the impact of Asplund’s work on Lerup’s thinking via commentaries on Asplund in the postmodern critique of the 1970s and 1980s. Through a comparative analysis of the drawings for Asplund’s Villa Snellman (1917–1918) and Lerup’s Nofamily House, the article argues that both architects developed parallel processes to critique either end of the twentieth-century modern project by using unbuildable elements in their drawings. Both Asplund’s and Lerup’s projects evidence the gap of uncertainty between drawing and building, as identified by Robin Evans. They contest the functional subjugation of the drawing to the building and question the homogeneity of modernity’s rationalist ideology. Finally, the article demonstrates that Lerup’s interpretation of uncertainty was a unique method of provocation in drawing that foregrounded the individuation of making meaning in architecture. In a manner that was distinct from the populist reductive ideas of metaphoric interpretation during the 1970s and 1980s, Lerup used unbuildable architectural drawings to establish a dialogue of interpretation between the drawing and the viewer. This empathetic method of making meaning confirms Evans’s assertion that drawing connects to architecture by engendering its imaginary forms with meaning.

中文翻译：

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不确定性的开端：Lars Lerup 和 Gunnar Asplund 绘画中的现代性批判

本文探讨了 Lars Lerup 无法建造的建筑图纸对现代性的批判。重点关注题为“开幕式”（1980）的单一绘图，它质疑建筑绘图中的不确定性如何以话语方式运作，以询问表示准确性的功能问题。本文考虑了这幅画对 Lerup 未建成的 Nofamily House 项目（1980-1981）的贡献，并考察了他对 1978 年 MoMA 对瑞典建筑师 Gunnar Asplund（1885-1940）回顾展的评论。通过这样做，它通过对 1970 年代和 1980 年代后现代批评中对 Asplund 的评论，展示了 Asplund 的工作对 Lerup 思想的影响。通过对 Asplund 的 Villa Snellman（1917-1918）和 Lerup 的 Nofamily House 的图纸进行比较分析，这篇文章认为，两位建筑师通过在他们的图纸中使用无法建造的元素，开发了平行的过程来批判 20 世纪现代项目的任何一个末端。正如罗宾·埃文斯 (Robin Evans) 所指出的，Asplund 和 Lerup 的项目都证明了绘图和建造之间的不确定性差距。他们质疑绘画对建筑的功能征服，并质疑现代理性主义意识形态的同质性。最后，文章证明了勒鲁普对不确定性的解释是一种独特的绘画挑衅方法，它突出了建筑中意义的个性化。以一种不同于 1970 年代和 1980 年代隐喻解释的民粹主义还原思想的方式，Lerup 使用无法建造的建筑图纸来建立图纸和观众之间的解释对话。这种产生意义的移情方法证实了埃文斯的断言，即绘画通过赋予其想象的形式意义而与建筑相连。