A technique used for vectorizing any hand-drawn object or photography of architectural environments –varying from non-orthogonal buildings to favelas. To CAD any sort of precooked visual material, one may choose to redraw the outlines or may prefer to take a more laborious effort. The previously pixelled material gains a graphic as well as an anonymous character by being reproduced as a contour or as a more sophisticated, detailed figure. By accumulating these CADded drawings within a wide field, ranging from stamps to complicated catalogs for pastiche, one can have potentially new project materials. By aggrandizing and shrinking, the imagery would lead to a surrealist realm, including daily objects –they instantly gain new meanings by the cadding process. So this specific technique goes far beyond what the word evokes. By the cadding process, ordinary objects gain a technical-looking image, yet with a contra-distinctive outlook of queerness. The autocadian, soulless if not sterile universe has long been in service of architecture: However, its promise to homogenize and to clarify architectural representations can be reversed by refocusing to dirty, devious spaces by using the technique. The radical austerity gained by vectorial lines can even have a greater effect than a sophisticated, artistically hand-drawn one.