by Sam Ridgway, he suggests that the use of "electronic imaging inhibits imagination and promotes reflection on architecture rather than bringing architects, entrepreneurs, clients and critics to think within architecture” (275). Inspired by Frascari, the strategy of technography is encouraged (278). It is a “different way of thinking about the relationship between a [working] drawing and a future building. Rather than “simply Cartesian technical lines showing edges, corners and joints, these technographic drawings reveal both the symbolic and instrumental representations of the future building… it is about making visible what is invisible”. Ridgway remarks: “The fact that any of this could be considered controversial indicates how far architects have strayed from the core of their profession” (279). He says: “Part of any technography must include recognition of the historical context of construction knowledge. This is not only to better understand our rich architectural ancestry, but also because it re-establishes a link with the origins of our building profession” (279). Rather than a "miniature projected representation of an imagined building, the details are drawn as poetic constructions themselves, following the logic of drawing and not construction and representing the "constructed detail in a symbolic way, in addition to instrument ". The symbolic and the practical are one and the same thing” (280). “What are the symbolic qualities we try to embody in our buildings and how would we represent them in designs? » becomes the question (278). These drawings “may not be easy or simple to understand or interpret..