[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-663607-105":3,"detail-sidebar-cat-0-en-105":79,"doc-detail-663607-en":129},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":72,"head_meta":74,"extra_data":76,"updated_unix":78},105,"en","bad-lines-a-novel-style-of-architecture","Bad Lines - A Novel Style of Architecture","","Bad Lines argues that architectural agendas can be understood through the linelype embodied in drawings, proposing an architecture characterized by an overlooked linelype: bad lines. It contrasts good lines—communicative, teachable, graphically pleasing, and linked to established techniques—with bad lines, presented as rejected, illegible, unexamined, and intentionally oppositional. The discussion connects deviations to normative conventions while exploring how bad lines enable truly non-normative architecture.",{"@graph":14,"@context":71},[15,34,54],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/bad-lines-a-novel-style-of-architecture/663607/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":48,"encodingFormat":47,"isAccessibleForFree":49,"interactionStatistic":50},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/bad-lines-a-novel-style-of-architecture/663607.png","ImageObject",300,407,{"name":42,"@type":43},"pop out","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-28",true,{"@type":51,"interactionType":52,"userInteractionCount":4},"InteractionCounter",{"@type":53},"ViewAction",{"@type":55,"mainEntity":56},"FAQPage",[57,63,67],{"name":58,"@type":59,"acceptedAnswer":60},"What are “bad lines” in the paper’s framework?","Question",{"text":61,"@type":62},"Bad lines are rejected drawing lines that are noncommunicative, illegible, unexamined, un-technical, and typically ugly. They do not carry the established techniques and associations that good lines do.","Answer",{"name":64,"@type":59,"acceptedAnswer":65},"How does the paper define “good lines”?",{"text":66,"@type":62},"Good lines are accepted within the discipline and tied to communicative, teachable techniques. They reinforce architectural project intentions and are described as graphically pleasing and capable of being taught and imitated.",{"name":68,"@type":59,"acceptedAnswer":69},"How does the paper relate good-line and bad-line drawings to deviation in architecture?",{"text":70,"@type":62},"Good lines deviate by extending normative conventions toward generic precision, while bad lines deviate through inversion—challenging acceptability and placement of disciplinary techniques. Together, they form a sliding scale of deviation from normative architecture and enable variation in the design process.","https://schema.org",{"og:url":32,"og:type":73,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":75,"canonical":32},"index,follow",{"doc_id":77,"site_id":7},663607,1793229561,{"code":4,"msg":80,"data":81},"success",[82,86,89,93,98,103,108,113,118,121,125],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":83,"show_sort_weight":84,"slug":85},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":87,"slug":88},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":90,"show_sort_weight":91,"slug":92},"Exam",70,"exam",{"id":94,"doc_module":4,"doc_module_name":25,"category_name":95,"show_sort_weight":96,"slug":97},5,"Comic",60,"comic",{"id":99,"doc_module":4,"doc_module_name":25,"category_name":100,"show_sort_weight":101,"slug":102},6,"Technology",50,"technology",{"id":104,"doc_module":4,"doc_module_name":25,"category_name":105,"show_sort_weight":106,"slug":107},7,"Healthcare",40,"healthcare",{"id":109,"doc_module":4,"doc_module_name":25,"category_name":110,"show_sort_weight":111,"slug":112},8,"Research & Report",30,"research-report",{"id":114,"doc_module":4,"doc_module_name":25,"category_name":115,"show_sort_weight":116,"slug":117},9,"Religion & Spirituality",20,"religion-spirituality",{"id":116,"doc_module":4,"doc_module_name":25,"category_name":119,"show_sort_weight":116,"slug":120},"World Cup","world-cup",{"id":122,"doc_module":4,"doc_module_name":25,"category_name":123,"show_sort_weight":122,"slug":124},10,"Lifestyle","lifestyle",{"id":126,"doc_module":4,"doc_module_name":25,"category_name":127,"show_sort_weight":94,"slug":128},19,"General","general",{"code":4,"msg":80,"data":130},{"doc_id":77,"user_id":131,"nickname":42,"user_avatar":132,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":133,"file_id":134,"file_url":135,"file_type":136,"file_size":137,"view_count":4,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":94,"language":138,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":139,"faqs":140,"seo_title":141,"seo_description":12,"update_tm":78,"read_time":109},962090760408,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","Bad Lines  \nWe discuss, analyze, and parse architects’ formal or material agendas yet more often than not, at the root of those qualities, are a unique linteype defined through drawings. Thus, if one can invent a new linetype one can invent a new architecture. What this paper proposes is nothing short of a completely novel style of architecture. An architecture characterized by an otherwise overlooked linetype: bad lines.  \nTHE GOOD AND THE BAD  \nFrom John Hejduk to Raimund Abraham, more than a few architects have suggested that drawing is architecture. This assertion is reductive at best and may not hold up under scrutiny. Yet it is fair to say that drawing is quite important to architecture. Drawing is a fundamental architectural act. It is essential to architectural production. How one draws orthe types of drawings one makes is the primary determining factor in the architecture that results. A drawing’s most primitive component is its lines. We discuss, analyze, and parse architects’ formal or material agendas yet more often than not, at the root of those qualities, are a unique linteype defined through drawings. Thus, if one can invent a new linetype one can invent a new architecture. What this paper proposes is nothing short of a completely novel style of architecture. An architecture characterized by an otherwise overlooked linetype: bad lines.  \nThe line holds architectural implications. There is a complicit relationship between representation and architectural intention. The naïve curve, the bubbly cartoon, the clean orthogonal, the smooth spline, the chubby diagrammatic: each of these is inextricably affiliated with the architectural Project it delineates. These are good lines. They carry well-established and closely examined sets of techniques and associations. They reinforce the intentions of their respective architectural Projects. They’re graphically pleasing. They can be taught. One can look at the good line, look at the architecture, and see how one influences the other.  \nJust as there are good lines, which have been accepted into the discipline, there must also be bad lines that have been rejected. Bad lines do none of the things the good line does. No one teaches them. They bear no relation to any architectural Project you can recall. They are noncommunicative, illegible, unexamined, un-technical, and frankly, ugly. They are the wobbly, chamfered, too fat, too thin, sketchy, broken, imprecise, ill-formed, and shunned rela¬tives of the good line. The bad line is as derided and avoided as the good line is championed and imitated.  \nKYLE REYNOLDS  \nUniversity of Wisconsin–Milwaukee  \n496 Bad Lines  \n1  \nFigure 1: Bad Lines Pavilion Plan, is-office  \nTRANSLATION  \nMost architects absorb conventions. They accept a body of standards into their work, normalizing it to some degree. There are also architects that deviate from these norms. They challenge convention and standards in an attempt to produce novelty. Yet almost all architecture uses good lines as its primary method of creation. And good lines embrace normative conventions. This norm, it turns out, is unavoidable. The architect of good lines can only deviate through perfection. They can enhance their good lines to generic precision and nothing more. This process is quite familiar. It can begin with an initial sketch translated into splines. Then move into a parametric model to optimize curvature and enhance performance. And end in a series of engineering processes to ensure accurate and affordable construction. These deviations are derivative of a normative architecture. They strive for perfection and use techniques such as smoothing, refining, optimizing, and enhancing.  \nThe use of bad lines in architecture is a deviation from the embedded normative conventions of the discipline and its “best practices.” Their use is wrong and uncomfortable. Bad lines are the rejects, those things cast aside. Bad lines are avoided or worked over in the design process, leav","cbCaiizaja0XhvZf","https://ap.wps.com/l/cbCaiizaja0XhvZf","pdf",2204574,"English","# THE GOOD AND THE BAD\n## The role of drawing in architecture\n# Translation\n## Normative conventions and good lines\n## Bad lines as inversion and foundation","[{\"question\":\"What are “bad lines” in the paper’s framework?\",\"answer\":\"Bad lines are rejected drawing lines that are noncommunicative, illegible, unexamined, un-technical, and typically ugly. They do not carry the established techniques and associations that good lines do.\"},{\"question\":\"How does the paper define “good lines”?\",\"answer\":\"Good lines are accepted within the discipline and tied to communicative, teachable techniques. They reinforce architectural project intentions and are described as graphically pleasing and capable of being taught and imitated.\"},{\"question\":\"How does the paper relate good-line and bad-line drawings to deviation in architecture?\",\"answer\":\"Good lines deviate by extending normative conventions toward generic precision, while bad lines deviate through inversion—challenging acceptability and placement of disciplinary techniques. Together, they form a sliding scale of deviation from normative architecture and enable variation in the design process.\"}]","Bad Lines - A Novel Style of Architecture | PDF"]