TWO references are attached, and each settles a different thing.

THE LINE DRAWING settles FORM, and nothing else decides it: how many
storeys there are, how the masses meet, where every opening sits and how
large it is, where a stair runs and which opening it arrives at, the
roof line, and where the structure meets the ground. Build exactly what
it draws. Where it leaves an empty outline of something mounted on a
surface, put one there, at that size, in that place. The drawing is a
diagram — take none of its bareness into the picture.

THE PHOTOGRAPH settles SURFACE: the kind of construction, the materials,
the finish, the wear, the fittings and the everyday detail.

EVERYTHING PEOPLE PUT ON A SURFACE TO BE SEEN — characters, numbers,
emblems, figures, printed and pasted matter, painted and sprayed work,
applied colour fields, panels, boxes, boards, and marks someone left
without permission — is something a person made and applied. If the
subject here is a natural feature — rock, ground, water, vegetation —
it carries none of that, nothing is fixed to it, and you add no made
object to carry any. Nothing in this note asks you to put one there.

Where the subject IS something people made and the photograph shows such
work on it, follow what the photograph shows as closely as you follow its
materials: how many of these there are and where each sits, how they
differ in size, what parts each is divided into and in what order those
run across it, which colours divide them and how strongly, what is lit,
and what each one shows besides a name. They belong to how the place
looks exactly as its walls do — a place reduced to plain characters on a
blank band does not resemble the photograph at all. Only the wording
itself comes from the description above, never from the photograph.

★ WHATEVER WAS BUILT ONTO THE SUBJECT SO PEOPLE COULD COME AND LOOK AT IT
IS NOT PART OF ITS FORM. If the photograph shows guard rails or fencing
along an edge, a platform or deck to stand on, laid paths, steps and
handrails, boards or panels explaining the place, or lamps, bins and
seating put there for visitors, none of it crosses over. Those were added
at THAT place, for people who go there; they say nothing about how this
kind of subject is made. Build the subject as it stands without them, and
put such a thing in only where the description above places one.

★ NEITHER REFERENCE SETTLES PLACEMENT. The photograph was taken at
ANOTHER place, where this kind of structure happens to stand in some
other arrangement, under some other light. Never copy its camera angle,
its framing, its weather, its time of day, its surroundings, or anything
else standing in it. Where this structure sits, what lies around it and
how it is framed are settled by the description and the context above,
and they win over both references every time.