CONNECTIONS: EXPLORING HERITAGE, ARCHITECTURE, CITIES, ART, MEDIA OVERLOOKED!: THE PERFORMANCE OF ARCHITECTURAL DRAWING (original) (raw)

INTRODUCTION In both architecture practise and academia, the choice of types of architectural drawing and how we present them is usually determined by how the method may effectively communicate our ideas to a specific type of audience in a particular spatial setting. The characteristic of one medium is cautiously chosen for the sake of clarity of information required by the circumstance in which we present the drawing. However, looking at architecture more substantially as knowledge about human relationship with space, as a representation, the types of drawing and the way we present them determine our depth of learning. 1 Drawing mediates our understanding of physical space. The act of representing allows us to separate our physical entity from the space inside the drawing so as to be able to see it more objectively. In this regard, what is often overlooked is that physical relationship, that is very much architectural, between the drawing itself and our own body. To build a thorough understanding, we need to learn architecture directly from its physical object and through not only its representation but also our embodied relationship with the medium. This research is an attempt to bridge the gap between the direct and the mediated architecture learning, that is by allowing drawing in its wholeness of physicality to not only to be used pragmatically but also performatively. This study aims to explore a new way to look at and use architectural representation, "How can architectural drawing generate an embodied-spatial relationship with its audiences and therefore perform the spatial idea being disseminated?" By borrowing a theory from narratology, we answer the question through a precedent study, as well as through two experiments that we conduct to try out this theory. In the end, we hope to elucidate the overlooked role of architecture drawing, namely its performance aspect.