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Any translation from non-visual arts such as literature and music into visual arts indeed grapples with the problem oftransference between what Susanne Langer would term as discursive and presentational forms.38 This notion o fdiscursive and presentational forms has some similarities to Nelson Goodman's concepts of allographic and autographic.39 However, the case of architecture is especially intriguing since it cannot neatly fit into a package of "presentational" form.
On the one hand, the construction drawings in architecture are allographic, a set of instructions, follow a notational system that can be replicated but conceptual drawings, for instance Rossi's sketches, are autographic, much like paintings.
As a mode of representation that uses notational systems, mapping when deployed in architectural drawing would be what Nelson Goodman would call allographic.
Goodman in his distinction between the allographic and autographic arts discusses the unusual nature of architecture which has aspects of both: "The architect's papers are a curious mixture," he writes, further stating that " the specifications are v^itten
This unusual mixture makes certain architectural representations particularly interesting, since, for Goodman, it is the codified nature of graphic information present in architectural drawings that make them allographic in nature.
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