The line holds architectural implications. Naïve, cartoon, ortho, spline: each linetype becomes inextricably affiliated with the architectural project it delineates. This project examines the complicit relationship between representation and project, proposing the possibility of a new category of linetypes: “bad lines.” The bad line is defined by its marginalization – it is methodically removed from architectural representation. It is wobbly, chamfered, fat, thin, sketchy, broken, imprecise, or ill-formed. Typically pushed aside in architectural practice, these lines carry untapped potential. In this proposal, an unrefined sketch translates directly into architectural form, generating a not-quite-familiar architecture that vaguely elicits the idea of the minimalist pavilion. The tautness of the original is displaced by the slackness of the steel piping and the iridescent tarp. The translation of the materials generates the loose minimalist pavilion; bad line becomes novel formal logic. The folly recollects architectural types but is not exactly architecture; this proposal exploits this notion of the folly, recollecting – but missing – its apparent precedent.