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Architectural drawing has evolved more into a mean for architecture production (building), a reductive artefact,creator of absolute truths.The drawings act as a map/extension for the production and the building ending up as “The thing-in-itself is a distinct entity from the phenomena it gives rise to.    Bryan Cantley wants to challenge this relation between the viewer and the subject matter. His approach is by challenging the drawing to not be as a reductive extension to something existent or as an instrument for it to be born but rather for the drawing to be the thing itself, to exist by itself t(here) and not elsewhere. So perhaps this could offer us a different condition in which we can explore the drawing in relation to the fluctuation of architectural space.   He uses drawing as a research laboratory to document the things that are unknowable/immeasurable as an act of documentation of architectural thought and experience.      Technology has introduced new possibilities for Bryan Cantley of representations in drawings such as ” the ability to render conditions of transformation, phase shifting, entropy and revolution”. It has also questioned the phenomenological approach of architectural drawing with the world, between the artefact and antifact. Artefact= handmade object (drawing, noun )Antifact= possible documentation of an impossible object (drawing, verb), impossibility of things   Layering creates a new typology that could formulate untested cartographical decoders for Cantley. Grids, mirages, substructures of Mylar and even ink becoming impregnation membranes. His intent is to transform “immeasurable things into measurable entities-and back again into the impossible… The thing underneath” One of his question is : ” where does the act of drawing take place? Is it on the page or in the subconscious?” Phenomenological studies suggest that the drawing describes event space. Whereas 

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