Abstract
The quotidian as both social and spatial domain is today an emerging field of study extended to architectural practices. The concept of an equidistant ecology between objects, discourses, and living beings, was developed by the sociologist and anthropologist Bruno Latour in the Actor-Network Theory. Latour observed an innovative approach to architecture by implementing the quotidian as a significant design layer. This theory embraces a post-human viewpoint and transcends the conventional notion of architecture and design as a mere Euclidean construct.
Nowadays, there is an enhance in on-site practices in response to the telepresence-driven shift brought about by the digital imperative. This tendency underscores the importance of reclaiming alternative methodologies for observing and analyzing our everyday physical world. Notably, Japanese culture showcases a profound appreciation for the essence of everyday object system and home domesticity. In Japan, the practices of ethnographic hand-drawing, whether digital or not, has experienced a resurgence in numerous architectural offices. This research delves into the ancient roots of drawing as an ethnographic method for exploring domesticity, by outlining the analogy between two pioneering figures in the field of ethnographic drawings: Edward S. Morse and Wajirō Kon. The analysis of their respective on-site fieldwork illuminates the stark contrast between Morse's scientific and synthetic approach and Kon's voracious and documentary-oriented methodology.
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Roig Segovia, E. (2024). Drawing the Quotidian. The Emergence of Ethnographic Drawing in Japan. In: Hermida González, L., Xavier, J.P., Pernas Alonso, I., Losada Pérez, C. (eds) Graphic Horizons. EGA 2024. Springer Series in Design and Innovation , vol 44. Springer, Cham. https://doi.org/10.1007/978-3-031-57579-2_28
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