New Faces in the Dark

Visible Certainty compressed
Vision Obsolete

This thesis is about a practice of drawing and documenting space that deviates from traditional ideas of permanence and definition in architectural representation. As an expression of the author’s architectural drawing and documentation method, the thesis attempts to capture and visualise the passage of time and its immediate effect on the image.

This research explores the passage of time through the lens of Western writings and ideas, such as Heraclitus’ proverb of time as a river, “No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” There is also the concept of Entropy, which is the second law of thermodynamics. A process of energy transformation that is understood to be irreversible and correlative to the progressive disintegration of form.

As such, this project demonstrates the expression of these theoretical concepts by suggesting processes of visualisation that result in ‘unfixed’ (unclear, undetermined and speculative) characteristics of space.

In this exploration, conventions of architectural drawing extend beyond their standardised and technical approach in the practice. Here, I address elements of drawing and the resulting imagery through a seemingly ‘animated’ design process. Informed by my father’s practice of 20th-century 2D Cellular Animation, a process that involves repetition, layers, movement and lighting effects to depict time and movement, acts as a point of reference to formulate an expanded drawing practice.

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Dad's Old Animation Table. Added are steel bracings that hold two acrylic sheets displaying drawings made by the author during that year. The table exposes the unexpressed layers within a drawing by extending each image into 3D space.
Lines Suffused in Space
Lines Suffused in Space. A ghostly construct seemingly emerges from multiple overlays of photos.
Perplight and shadow 1
A collection of photos that build towards Lines Suffused in Space

Peering into the drawings, the concept of a ‘latent’ (hidden, dormant, and unexpressed) layer reveals itself as an intrinsic part of our drawings. When applying the concept to an existing image, there are opportunities to see their internal image arrangements. From there lies the possibility to manipulate, re-order and repeat their inner sequences in endless variations. Such encounters and design processes allow us to see what ‘new’ (yet uncertain) architectural forms may entail from that process.


The research and developed methodology then culminated into an installation design. It demonstrates the use of light projected onto a sequence of painted images and the immediate effect/ result it manifested.

Call to the Void. An installation of suspended drawing transparencies that nods toward animation duplication and its suggested movement.
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A strong light source is placed behind the installation which then projects onto the painted transparencies.
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The projected illumination upon the images is able to obscure the foreground and background divisions, creating overlapping perspectival depth.
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The installation functions as a mechanism that collapses an image sequence into one composition. Looking closely, the viewer encounters the emergence of an ‘ever-changing’ yet haunting architectural form/ scenery. It seemingly generates a series of 'spaces' that are resistant to structural definition and measurement.

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A Trembling Bright Light
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Rows of Light and Fire
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Amidst Smoke and Rubble
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A Space Waiting to Exist

As such, what is produced are not precise forms but rather apparitions of architectural space.