Entangled Naturalisms:

Drawing nature beyond media.

Abstract

This paper presents practice-based and theoretical contributions exploring how field drawing, site-specific practice, environmental humanities, walking and durational practices, and embodied experience can extend architectural drawing methodologies beyond medium-specificity and dualistic culture. Drawing as a situated and embodied practice — entangled with analogue, digital, and hybrid media, on-site, in motion, with collected data, images, traces, memories, and matter — can shift practice toward drawing from within an environment in intra-action, with all actors active in the drawing process. Entangled Naturalisms presents landscape drawing experiments structured around a four-state methodological cycle: (1) in situ experience — drawing in direct contact with the environment through live hand drawings, scans, and photographs; (2) drawing in the studio — translating and re-drawing landscapes in a digital environment; (3) re-imagining in situ — returning to the site accompanied by drawings already made, where repetition includes difference; and (4) returning to the digital environment — where a multilayered drawing process cultivates a reverie, perceiving landscape as relational, in constant metabolism and transformation. The experiments draw on a final thesis project from the Department of Architectural Engineering, University of Thessaly — "Path-ώ as a verb: (k)nots of remnant edges" — which expands topographic and drawing practices in search of a new naturalism for the post-Anthropocene. Entangled drawing seeks to lend the tools of data and pixels the same attentiveness, curiosity, and insurgent capacity — repositioning situated drawing as a mode of being-with the environment: a sensitive sensor attuned to its complexity, its other-than-human agencies, understood through an agential realist framework (Barad, 2007).