On the use of axonometric drawings by artist Paul Noble.
Paul Noble axonometric drawings are vast. Several meters across, they deal with the landscape, the territory, whilst remaining very architectural in their inception through a careful assemblage of volumes and an attention to one and every minute details. Although the individual elements are very much three dimensional, the overall drawings, by their format and the extent they cover, remain, almost paradoxically, flat. Something between an axo and a map, not unlike the first birds eye views developed in the late 17th century – see Johannes Kip’s drawing below

article on Paul Noble’s exhibition at the Gagosian Gallery in 2011:

Paul Noble, Nobson

Nobson-cemetery nobson20_905

Jan Kip & Leonard Knyff, Wollaton Hall Gardens

wollaton hall garden by jan kip and leonard knyff


On the use of orthographic drawings by Morphosis: the case of the self-built 2-4-6-8 House by Morphosis, complete with assembly instructions.
Axonometrics are used to describe the construction method, as they are is deemed easier to understand. Here they show how the different parts are assembled.
The project also combines plan, reflected ceiling plan, unfolded elevations, axonometric and the additional perspective on a single drawing (first drawing below), thus using the quasi-full palette of traditional conventional architectural drawings on the same page, whilst, surprisingly perhaps, avoiding the cross section (though the plan of course is a section).

The house is one of Morphosis early projects (1978) and can be found, alongside many others, on their research/archive website: morphopedia

01-246-Drawing-A01-512 05-2468-Isometric-Drawing-_-512 2468axo_FINAL-512 03-2468-See-Word-Doc-_assem-512description of the project from morphopedia:

“Venice Beach, the context for much of our early work, is one of the few places in Los Angeles with a thriving and eclectic street life. The 2-4-6-8 House gave voice to this happenstantial quality, inflected by the serendipity and combustibility of Venice street life. A sense of play animates the 2-4-6-8 House. Variations on window sizes form the conceptual genesis for the project. A simple cube with a pyramidal roof, the exterior is clad in gray asphalt shingles, while the windows’ yellow cross, blue lintel, and red scupper inject a joyous note of color. The project was schematized in a Revell-model-like that detailed each aspect of its construction in a form any layperson could comprehend. To enhance this playful, do-it-yourself quality, the client was given pocket-sized working drawings. Within the finished space, ventilation and heating are manually operated through gadgets that beckon to be fiddled with.”

Extract from Peter Cook’s essay ‘Looking and Drawing’.
see  ‘Drawing Architecture’, AD no.225, pp 80-87, edited by Neil Spiller, Wiley, (2013) for the full essay:

“How can people draw in the abstract? Even plotting a line on a scrap bit of paper
– ‘here’s the nearest place to buy potatoes’ – followed by a scribbled arrow,
a wobbly line to the supermarket door, is the product of memory and episode.
In the invention business, this involves a considerable scrambling of all sorts of memories and episodes allied to many, many, wish-dreams.
I knew how to keep going: attacking the awkward parts of a drawing in the morning and coasting along with the easy, repetitive parts in the evening.
Yes, the business of drawing became not only a case of interpreting one’s dreams, but of assembling the likely episodes in some king of predicable echelon. For me, the best drawings have always been those in which more than 60 per cent was, on the outset, merely a ‘sniff’ of what was to come. To have the whole thing plotted out beforehand and entirely predictable and therefore just a graphic exercise – this is infinitely boring. A drawing should be an investigative device, a voyage of discovery, a series of glances into the future. ‘Oh my God, was that what it was about?’ seems to be a reasonable conclusion.”