“Troubles with materiality have a long pedigree in architecture. Few large-scale building projects before the industrial era had detailed working drawings of the precise sort CAD can produce today; Pope Sixtus V remade the Piazza del Popolo in Rome at the end of the sixteenth century by describing in conversation the buildings and public space he envisioned, a verbal instruction that left much room for the mason, glazier, and engineer to work freely and adaptively on the ground. Blueprints – inked designs in which erasure is possible but messy – acquired legal force by the late nineteenth century, making these images on paper equivalent to a lawyer’s contrat. The blueprint signaled, moreover, one decisive disconnection between head and hand in design: the idea of a thing made complete in conception before it is constructed.”

(Richard Sennett, The Craftsman, pp. 41–42.)