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Thesis statement |
This thesis seeks to explore the relationship between Drawing and Architecture, the design media and representation between two-dimensional drawing and three-dimensional form and space. By investigating and integrating the potential technique of 2.5 dimension relief representation and creating emergent scalar of public space.
Inspired by the drawing theory from Zaha Hadid, “The withdrawal back into the two dimensional surface. The investigation is base on the refusal to interpret everything immediately as a spatial representation, therefore to carry out a condition for the full exploration on the medium of relief representation and as a medium of invention. And on this basis, as explicitly graphic manoeuvres, do the design manoeuvres gain enough fluidity and freedom to play. “
Architecture and Drawing have had this inseparable yet intangible relationship. The form of architectural drawing has existed in many formats throughout Modernist discourse.
The idea of relief representation of space in 2.5 dimension sets up a contrast to the fundamental role of architectural representation in two-dimensional drawings and three-dimensional models. It appears to be fairly obvious that the tools we use during the design process to some extent predetermine the architecture.
WHAT |
The testing out ground of which would be base of two geographic typology, a mountain terrene site and a flat land site. which would provide two different characteristic of site for testing the relief technique and drawings for comparison.
In Hong Kong there are almost 70% of mountain terrane topography. But yet most of the building were built in a manner of extreme extrusion even leisure space such as museum and parks. Very few are responding to the relief topography of Hong Kong. Therefore two site, one in the Visual Art Center next to HK Park and The Statue Squre Hong Kong has been selected to design and create into emergent scalar of relief public space.
WHY |
Inspired by the drawing theory from Zaha Hadid, “The withdrawal back into the two dimensional surface. The investigation is base on the refusal to interpret everything immediately as a spatial representation, therefore to carry out a condition for the full exploration on the medium of relief representation and as a medium of invention. And on this basis, as explicitly graphic manoeuvres, do the design manoeuvres gain enough fluidity and freedom to play.
Architecture and Drawing have had this inseparable yet intangible relationship. The form of architectural drawing has existed in many formats throughout Modernist discourse.
Relief representation technique has been used in different period of architectural history, some were used more dominantly and some were not. And recently it has been used as spatial representation but not just record of life or art.
 
HOW |
2.5 – dimension
Methodology were analysis from case study for the possible transformation of relief representation. A series of relief model has been tested out by drawing with a different media and machines to explore the limitation and opportunity on what we are drawing and designing with today. Different assemblage method has also been experimented not just manually by hand but also the involvement of digital software to allow assemblage for more complex forms.Then some of the model are transformed back to 2 dimensional drawings to study the relationship between the model and the lines, or put them into layer of lines and information with depth.
 
Bibliography |
Theory reference:
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Techniques reference:
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Seminal reference:
- L (2007), ‘Diller+Scofidio (+Renfro) The Ciliary Function’, SkirEditoreS.p.A, Italy.
- Y (2010), ‘Revisiting the relationship between 2D and 3D’, Hong Kong Arts Centre, Hong Kong
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- (2001), ‘The Architecture and Design of Robert Venturi, Denise Scott Brown and Associates’, Department of Publishing Philadelphia Museum of Art, Philadelphia
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- G and Janssens. M (2010), ‘Maxxi, ZahaHadid Architects’, Rizzoli International Publications, Italty
- B (2010), ‘Yes is more’, BIG A/S Published, Copenhagen
- Gili Monica (2000), ‘Foreign Office Architects’, Editorial Gustavo Gili, Barcelona
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- V (2007), ‘Jorn Utzon House’, Living Architecture Publishing, Denmark
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- E (1973), ‘TWA Terminal Building Kennedy Airport, New York 1956 – 62 Dulles International Airport (Washington, D.C.) Chantilly, Virginia. 1958-62’, ADA edita, Tokyo.
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