AR5951J DESIGNING DRAWING / STRANGERSNEIGHBOURS: AN ARCHITECTURAL SURVEY OF THE CRANES / 2224 CRANE ROAD, SINGAPORE 429363 / BY A0111169M, LIN DERONG /
STRANGERS-NEI SURVEY DRAWINGS S - 21 APRIL 20 2. THE RHET PRESENCE / 4 A0111169M , L OF ROLAN FOR A UNDERGRADUA 2 / SINGAPO x DEPARTMEN
IGHBOURS: AN ARCHITECTURAL Y OF THE CRANES / CONTAINS 4 SURVEYED DURING 13 JANUARY 016 / 1. MAPPING THE INFINITY / TORICAL FIGURE / 3. IMPRINT OF 4. NOTING THE INTANGIBLE / BY LIN DERONG / UNDER TUTELAGE ND SHARPE FLORES / SURVEYED AR5951J DESIGNING DRAWING / ATE YEAR 3, AY15/16 SEMESTER ORE TYLER PRINT INSTITUTE (STPI) NT OF ARCHITECTURE, NATIONAL UNIVERSITY OF SINGAPORE /
MAPPING THE O INFINITY - 90 EXPLODED AXONOMETRY / SLIK SCREEN PRINT ON 1.5MM ACRYLIC SHEETS, BASSWOOD ENCASED / 100216 / This survey seeks to synthesize the Western’s empirical and Asian’s subjective understanding of axonometry. The drawing aims to be a depiction of the formal and experiential aspects of the building. The essence of The Cranes lies in how communal spaces are crafted in relation to each
other. This public sphere, where I had full access, has a unique spatial depth and verticality nestled between two combined shophouse units. The survey rendered each spaces as separate layers superimposed onto each other which is made possible using silk print technique. The making process led to
a drawing designed as an architectural object i.e. a spatial viewing device. The 90 degrees projection locates the viewer at an infinity as parallel visual rays run perpendicular to the plane of projection. It is an exploration and narration of its deep spatial sequence behind its façade. /
THE RHETORICAL FIGURE - FRONTAL ELEVATION / RELIEF PAPER CONSTRUCTION AND MIXED MEDIA /
200216 / The conventional perception of elevation drawing is questioned in this survey. It explores the spatial characteristics behind the obvious - of what is present behind the façade. The drawing provides a basis to understand The Cranes from the infront of, within and behind the façade. Expounding
on the potentialities of the elevation, I seek to imbue other information in it – not only the apparent objective but also the subjective formal, structural and spatial characteristics. It is thus an interplay between objective and subjective. From the central courtyard, the interior elevation inside is exposed
to reveal the spatial depth behind the narrow façade. Its depth is further emphasized through paper relief which shows life happening behind its static front. /
IMPRINT OF PRESENCE - INDEFINITE SECTIONAL CUT / ETCHING AND AQUATINT ON PAPER /
160316 / Contrary to the other drawings presented in this series, this is not an interpretation but a description of life inside The Cranes. This survey aims to capture the domesticity of the occupants as a single community. Domestic objects are rendered in relation to the spatial sequence of the communal
spaces. This is further juxtaposed by its private sphere – denoted in black tint. From the level 1 kitchen to the metal grilled stair core, this sectional drawing allows one to explore the tangential spaces and the interconnectedness of the everyday banal. The cut was not objectively definitive, but instead it acts
as an imprint of presence to suggest how key spaces was used and how light enters the building. Through the techniques of etching and aquatint, I have attempted to depict how The Cranes frames the dynamic nature of the moment i.e. the lived spaces. /
NOTING THE INTANGIBLE RELIEF PLAN MAQUETTE / MIXED MEDIA COLLAGE /
210416 / The last survey is a personal interpretation of The Cranes. The house is observed as a palimpsest of the occupant’s autonomy, time, decay and the vicissitude of life – as evidences of bodily traces overlay on top of one another. Congruent to this idea, the drawing forms a collage plan of objective (what was designed) and
subjective (objects, , materiality, texture) information, aimed at synthesizing the designed and surveyed drawing. It explores the stratification of a collage through an act of noting both the tangible and intangible aspects of The Cranes – between our perception and what caused these perceptions. This collage plan sets as a document of its
physical attributes and an attempt to capture the temporalities of the “livedin” communal spaces. Structurally, its spatial experience is emphasized by a strong verticality which challenges the normative horizontal approach in plan drawings. /
/ THIS SURVEY CONCLUDES THAT ARCHITECTURAL DRAWINGS NEED NOT BE MERE COPIES OF THE PHYSICAL BUILDING. ITS REPRESENTATIONS HAVE A SYMBOLIC ORDER; THAT IS PREMISED ON A CRITIQUE OF A SOCIAL CONDITION; INFORMING THE PUBLIC THE ARCHITECT’S DESIGN INTENTS AND INFLUENCING THE PUBLIC’S PERCEPTION OF DOMESTIC SPACES. THIS PERHAPS IS THE ULTIMATE AMBITION OF ARCHITECTURE AS DRAWING. WE DRAW TO BRING OUT THE MORE EXPERIENTIALLY, ASSOCIATIVE ASPECTS OF A DESIGN PROJECT - FOR AN ENGAGEMENT OF THE DESIGN WITH THE PEOPLE. / d.