本研究旨在批判城市繪圖工具的局限性，論證其由上而下的視角無法充分捕捉生活化城市體驗中多層次、社會文化和時間性的維度。這些表述方式往往忽略了城市規劃線條「粗細之間」所存在的細節，導致對城市動態的理解不完整或片面。為彌補此缺口，本文提出集體繪圖作為一種參與式且批判性的方法論，藉此產生另類的城市理解，以突顯城市中未曾言說的故事、社會狀況及歷史印記。本研究探討並回答以下問題：作為建築與都市研究學院常用學習方法的都市製圖，其限制為何？而我們所提出的民族誌方法，又能如何在揭示城市多重時空性與敘事層面中，發揮互補與探測性的作用？透過香港與空訕（曼谷）的案例研究，本研究證明集體繪圖能呈現更豐富、更細緻的城市面貌。論文主張，這種共同創作的民族誌技術能夠拓展學習者對都市空間的感知，為他們提供一個萬花筒般的視角去理解城市。

This research critiques the limits of urban mapping tools, arguing that their top-down perspectives fail to capture the layered, socio-cultural, and temporal dimensions of lived urban experience. The formal representations overlook details that exist “between the lines” that create a city’s various edge conditions, resulting in partial understandings of urban dynamics. To address this shortcoming, the paper proposes collective drawing as a participatory and critical methodology, it produces alternative forms of urban documentation that foreground unsaid stories, socio-spatial conditions, and historically embedded traces of the city. It explores and addresses the research question: What are the limitations of urban mapping as learning methods commonly adopted by schools of architecture and urban studies? And, what are the ways in which ethnographic methods such as our proposed, can play a complimentary and critical role in revealing the multi temporal, spatial and narratives of the city? Through case studies in Hong Kong and Khlong San (Bangkok), the research shows that collective drawing produces richer, more nuanced depictions of urban reality. The article argues how the co-creating ethnographic technique can help to expand students’ perception of urban spaces, giving them a kaleidoscope of lens to understand the city.