In parallel, I produced a set of speculative drawings reconstructing Taylor’s 1896 chapel, developed as both evidence and interpretation. Beginning with the standards of the Historic American Buildings Survey (HABS), the drawings adapt preservation conventions to address how we record structures that no longer exist. With minimal surviving documentation, they integrate archival fragments, inferred details, and speculative reconstruction into a hybrid visual language that registers absence, ambiguity, and partiality not as limitations but as central to the act of recording. The work positions architectural drawing as a critical tool for recovering and reassembling erased or fragmented histories, compressing timelines where evidence, inference, and speculation coexist.