This series of drawings was a thinking process. These drawings were made during the ‘incubation period’ of writing the the Rooms essay within my Master's Thesis entitled Enframed, in an attempt to anchor the floating ideas and manoeuvres of spatial characteristics surrounding the notion of framing.
In these drawings, moving through the frame that connects two interiors sequentially is the central concern of discussion. They speak closely to the phenomenological understanding of the frame, the bodily experience that relates intimately to the metaphysical meaning of architecture.
This drawing explores the differentiation of an active observer and a passive
observer. An active observer not only engages with the performance by visual
means but also by a mode of contemplation, in which the observer goes through
a transformation. This engagement of the observer makes them a participant,
who completes each piece of art. This fluctuating state of performer-observer
relationship is visualized as an intermediary space where potentials of different
levels of engagement are implied by visual and physical separations.
multiplicity of interiorities
This drawing investigates the degrees of interiority. Whether by peristyle,
canopy, projection of a wall, boundary on the ground, a two-dimensional
surface division or through an aperture, an added degree of interiority
creates a progression, which also conceives the ‘heart’ of the sequence.
This drawing contemplates the experience of frame in time, whose depth
activates a sense of participation both physically and intellectually by the
potentials to inhabit this frame.
iconostasis of corridor
The liminal space in the surface of Iconostasis as theorized by Pavel
Florenskii which separates and connects the secular and spiritual realms is
imagined as a typology of a corridor. Programs that puncture the surfaces
provide new potential for visual and physical inhabitation, challenging the
tunnel-like quality of linear movement through a corridor.
Here, the Medieval conception of optics is considered in the framing of
views. Views enter the room, projected into the interior and continuously
change according to the occupant’s position. The views are an active
participant in the experience of the room, its presence as significant as the
walls or floors in constituting the sense of enclosure.
house made only of views
Building on the drawing ‘Participatory views,’ framed views are imagined
as the principle method to identify and situate our bodies in the expanse
of space. Locating our position in space by relative bearing is a way to
construct a sense of enclosure and security.