Nexus Network Journal
https://doi.org/10.1007/s00004-023-00701-8
CONFERENCE PAPER
Projecting Architecture
Anneli Giencke1,2
Accepted: 18 March 2023
© The Author(s) 2023
Abstract
This research deals with the tangible perception of space, on paper and in physical
form. It explores the translation of the real into the perceived and imagined
environment. Through modelling and drawing, intangible spaces in the physical
realm are elaborated with geometric features to project new spatial discoveries.
Keywords Art and architecture · Visual perception · Geometry and tectonics ·
Spatial embodiment · 2D and 3D representation techniques
Introduction
Images of my built projects form the basis for a series of process-oriented
investigations that look beyond the mere physicality of space to the imagination
and visualization of spatial constructs, to speculate on intermediate dimensions
of space. Thus, images were deconstructed into surfaces and wireframe models,
superimposed and further decomposed into interpretive dynamic spaces. The
oscillation between two-and three-dimensional space is explored by using physical
modelling as the thinking tool and the drawing as the projected space of the image
to create the testing ground of its conceived two-dimensionality. Lines and surfaces
protrude from the canvas to form emerging spatial constructs that visually describe
the reading of space as a syntax of shifting forces and encounters.
Thus, the focus is on the experimental practice of “drawing out” the underlying
transformable qualities of spaces, inspired by art, architecture, science of visual
perception, poetics of space, thinking through model making and drawing.
* Anneli Giencke
agiencke@hku.hk
1
Present Address: School of Architecture and Urban Design, Royal Melbourne Institute
of Technology (RMIT), VIC 3001 Melbourne, Australia
2
Department of Architecture, Faculty of Architecture, The University of Hong Kong, 3/F,
Knowles Building, Pokfulam Road, Pok Fu Lam, Hong Kong
Vol.:(0123456789)
A. Giencke
The Research
My research consists of generating new material by using the medium of drawing
and the physical model to oscillate between the exploration of two- and threedimensional spaces and dimensions. Currently, the drawings are made by hand,
but they may shift to the digital. I believe, on the other hand, that physical
modelling will remain my primary tool for thinking about, through, and within
architecture. So far, these experiments are based on two of my previous building
projects, which provide the projection surface for my investigations.
Thus, the work is process-driven and its evolution is determined by aspects of
surprise, accidental discoveries, and my curiosity about the imaginary boundaries
between the tangible and intangible beyond physical space.
The way of processing and capturing is thinking through modelling, which will
be the main method of my research—to “draw out” different dimensions of space.
I am interested in the relationship between the drawing and the drawer, as well
as the viewer of the drawing, and thus how the drawing can become spatial and
create not only a visual connection, but also a tangible one (Chard 2005: 34–35).
At the same time, I am fascinated by Frei Otto’s experimentation with models
based on mathematical and geometric principles that determine the buildability
of his visions. His approach of using different methods and materials to
simultaneously test the performance of forms and structural behaviour creates a
formative design process that combines art and science (Vrachliotis 2017: 22–30).
I like the idea of looking at these models as imaginary instruments that describe
dynamic and spatial forces that can become concrete and tangible. The influence
of geometric means that create an architectural language runs throughout my
practice/work.
My projects during my study at the Bartlett School of Architecture explored the
notion of the tangible and intangible elements in space, the in-between and their
boundaries, and how these might affect our perception of space. I experimented
with photography to capture moments of the otherwise invisible, and was taken
with the work of Etienne-Jules Marey, who used multiple exposures to visualize
movement, better known as chronophotography, developed primarily for the
scientific study of locomotion (Braun 1992: 13–20), and László Moholy-Nagy’s
“Lichtspiel Schwarz-Weiss-Grau”, which experimented with the superimposition
of physical objects and immaterial elements, creating spaces of duality to
discover what lies beyond the merely visible. The different dimensional layers of
space are of great interest to me.
Therefore, the question of how we perceive space is fascinating and has
sparked my curiosity in science and philosophy, for example, in the writings of
Edmund Husserl’s The Idea of Phenomenology (Husserl 2016), Kant, Heidegger,
Maurice Merleau-Ponty and Henri Lefebvre’s The Production of Space (Lefebvre
and Donald 1991) amongst others, as well as the books Eye and brain: The
Projecting Architecture
psychology of seeing by Richard Gregory (Gregory 2015) or Irvin Rock’s
Perception (Rock 1984).
The translation from the perceived space to the representing space, the
visualization of the observed three-dimensional space into a two-dimensional
drawing is part of this investigation, as I believe it is not a separate dimension,
but an intermediate space or a space that is within the space (this is how far my
investigation has taken me)—where the two-dimensional is projected out of the
picture plane.
I draw inspiration from drawings that convey spatial qualities that go beyond the
mere physicality of the building but illustrate another layer that promotes another
spatial dimension that could be a feeling or experience of the space depicted. The
line drawings of Hans Scharoun and Alvar Aalto have an agility and dynamism
that suggest lightness and liberty to me. Enric Miralles, on the other hand, breaks
with conventional orthographic projection by combining multiple views in one
drawing, some of which overlap to create architectural curiosity (Contreras 2020:
30–98).
The representational role of the drawing is comprehensively discussed by Robin
Evans in his book The projective cast: architecture and its three geometries and in
Architectural projection, describing it from the perspective of the viewer with an
active imagination, so that the relationship between the projection and the projected
is considered another influential aspect of spatial perception (Evans 1989: 19–21).
In Architecture in the age of divided representation: the question of creativity in the
shadow of production by Dalibor Vesely, emphasises on the communicative role
of architecture through representational methods and techniques to allow,[…] for
different levels of reality […] proposing a new poetics of architecture’ (Vesely 2004:
355–389).
Outline of Progress
Several investigative steps have been performed to date:
Reflecting on my background, my practice and way of working through the
idea of projecting architecture—which I refer to as the tangible and intangible
aspects of architecture—the physical, the perceived and experienced, the
imaginative space.
Using examples of work that relate to my idea of projection, using model
making and drawing as a way of thinking architecture.
A collection of references from architecture, architectural theory, science
and philosophy was compiled and reduced and refined during the process to the
current literature list.
A. Giencke
Fig. 1 Categorization of building projects through the design process
Projecting Architecture
Built projects were further studied through a categorization of the design process
rather than a chronological timeline or construction program, using the method of
analysis, translation and interpretation as follows (Fig. 1):
spaal percepon – intangible features/ geometrical values
spaal translaon – descripon of space/ spaal embodiment
structure – framework/ construct/ lines
surface – plane/ skin/ cover
volume – depth/ density
/
spaal relaonship – interior/ exterior
/
interpretaon – what I see
The images of the project are arranged in relation to the scheme described above.
The numbering of the images describes which tool/method was used when in the
process of the projects. Thus, it could be seen that the creation of a physical model
was mostly the first step of the development.
I further selected four projects that seemed most relevant to me in terms of the
idea of projection and immaterial statements. Two of them were further explored by
deconstructing the images into surfaces and lines made from paper and wire frame
models.
Starting with a wireframe model to mimic the structural lines I had in mind, a
spatial construct from that was created. My first thought was that it would follow
the contours, and it is almost invisible, but when the observer’s point of view shifts
in a different direction, another space emerges from it (Fig. 2). The introduction of
kinetic techniques allowed the image to turn in on itself to further superimpose the
model and display it as a drawing (Figs. 3, 4).
Such a series of processes can propose possibilities of perceived spatial
embodiments where model and drawing collapse and generate juxtaposed
representations, testing our understanding of the visible and invisible. Thus, through
conducting two- and three-dimensional unfolding experiments, intermediate
dimensions are discovered and unveiled articulating the intangible aspects of
spatiality.
A. Giencke
Fig. 2 Wireframe model—imaginary spatial construct
Since then, I have explored the idea of different spatial dimensions, building on
the models created so far and unfolding them into new spaces.
Through this process, oscillating between two- and three-dimensional space
seems to be a relevant exercise that I want to explore further, using physical
modelling as my thinking tool and drawing as the projected space of the image to
create the testing ground of its conceived two-dimensionality (Fig. 5).
Lines and surfaces protrude from the canvas to form emerging spatial constructs
that visually describe a reading of space as a syntax of shifting forces and encounters
(Fig. 6).
With this method of architectural seeing-recognizing-thinking-practice, elements
such as surprise, passion, and the unexpected have influenced the development of
my architectural language.
In my experimental practice, I search for the intangible spaces within the physical
world by drawing out the underlying, transformable qualities to project various
correlations and new spatial discoveries.
Conclusion
This research allows to speculate on the ambiguity of our spatial consciousness.
It creates interpretive spaces by challenging the architectural framework and
transforming perceived constructs to project other relationships and tectonics of the
so far unseen.
Using model making and drawing to explore the intricacy of what can be
imagined beyond the visible.
Projecting Architecture
Fig. 3 Wireframe model—kinetic structure
A. Giencke
Fig. 4 Transformation of the architectural framework
Fig. 5 Oscillation between twoand three-dimensional space
Fig. 6 Model as drawing/
drawing as model
Speculating on the nature of the tangible and intangible to experience perceived
space.
The development of research through this experimental practice aims to decipher
and discover the many layers of our experience of space, to be further inspired to
create architecture of and in other dimensions.
Funding Open Access funding enabled and organized by CAUL and its Member Institutions.
Projecting Architecture
Declarations
Conflict of interest On behalf of all authors, the corresponding author states that there is no conflict of
interest.
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References
Braun, Marta. Picturing time: the work of Etienne-Jules Marey (1830–1904). University of Chicago
Press, 1992.
Chard, Nat. “Drawing Indeterminate Architecture, Indeterminate Drawings of Architecture”. Hamburg
Institute for Cultural Policy. Consequence book series on fresh architecture. Springer Vienna, 2005.
Contreras, Javier Fernández. The Miralles Projection. Applied Research and Design, 2020.
Gregory, Richard L. Eye and brain: The psychology of seeing. Vol. 38. Princeton university press, 2015.
Henri, Lefebvre, and Nicholson-Smith Donald. "The production of space." Massachusetts:
Blackwell (1991).
Evans, Robin. “Architectural projection.” Architecture and its image: Four centuries of architectural
representation: Works from the collection of the Canadian Centre for Architecture (1989): 369.
Husserl, Edmund. Die Idee der Phänomenologie: fünf vorlesungen. Vol. 392. Felix Meiner Verlag, 2016.
Rock, I. Perception. Scientific American Library, New York, 1984.
Vesely, Dalibor. Architecture in the age of divided representation: the question of creativity in the shadow
of production. MIT press, 2004.
Vrachliotis, Georg. Frei Otto Thinking by Modeling. Spector Books, 2017.
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and institutional affiliations.
Anneli Giencke Architect, is an Adjunct Assistant Professor at the Faculty of Architecture, The University
of Hong Kong. She studied Architecture in Austria, Germany, and London/UK where she received her
Master from the Bartlett School of Architecture, UCL. Anneli has over twenty years of experience in
architectural practice and has worked on international projects and various building typologies. She
previously taught at the Institute for Experimental Architecture/Studio 3 at the Technical University
of Innsbruck/Austria, School of Architecture at The Chinese University of Hong Kong and The Hong
Kong Polytechnic University, School of Design. She is currently a PhD candidate Practical ResearchArchitecture and Design - at the School of Architecture and Urban Design, RMIT Australia. Her
research interests include the interrelationship between architecture, art, spatial perception, geometry and
tectonics of space, design methodology, design thinking, spatial embodiment, two- and three-dimensional
visualization techniques.