Reflection and Conclusion. This dissertation investigated the point of astonishment in architecture by establishing and interrogating the tangible parameters of the philosophies and built work believed to underpin the field. The combination of Light, Order, Material, Infinity, and Obscurity, which arises at the intersection of the Ineffable and Sublime, may create a sacred or spiritual experience; and, therefore, has the potential to cause astonishment. These parameters were explored through the slow and iterative design of a mixed use New York tower by using film and immersive technologies to create three spaces deeply rooted in the theoretical research; a foyer Looking Up, a pool Looking In, and a meeting space Looking Out. The research identified the strengths and shortfalls of the elicited tangible parameters, which fail without restraint or in conflict, and find the greatest strength in achieving grand experience, when working harmoniously to construct a singular, pure and powerful presence grounded in ancient ritual. This body of work experimented with new methods of design and experience, which established strong grounding in historical discourse, and identifies potential common threads in the path to astonishment. Immersive technology allowed me to stand within, and judge the spaces I designed as part of the iterative process of composition and construction. The Manuscript App allowed me to see every test, experience, and reflection that was made throughout the interrogations at any given time, and shall be continually expanded upon in my future research as a spatial practitioner. Film composition allowed the final design to be both an insight into the interrogations slowly building upwards, and an experience of the design as it might be seen by others. These techniques, combined with the theoretical and precedent backing of the practitioners studied, and the spatial grounding of the astonishment felt in the Pantheon and James Turrell’s ‘Aten Rein’ (2013) create a new method of design that will add to the discourse of architecture. The research is an innovative cross-section between the centuries old philosophy of the ‘Sublime,’ and the relatively contemporary philosophy of the ‘Ineffable,’ attempting to understand their roles within astonishment in architecture. This field remains rich for potential investigation. Further research might include; testing isolated historical references through the elicited tangibles, rather than many combined together as done in this dissertation; an international research tour in an attempt to find and analyse more built sources of astonishment in architecture; or expansion on the potential of the new techniques created in augmented reality and immersive design in the realm of extraordinary space. Reflecting on this, and on my research, I question the limitations of two parts of my methodology. Firstly, the technology used: while it was far more immersive than traditional methods of drawing or model making, I cannot help but wonder if astonishment might be felt in the designed spaces if they more closely resembled, or were, inhabitable built constructions. Secondly, my own subjective influence: obscurity, and that which feels immeasurable or beyond us is imperative to astonishment; yet I know how the space works, and I have a preconceived idea of what the space will be before I ‘enter’ it, therefore, can I ever be astonished by my own work? These questions might also be answered through future research. The final design film supports the power of sacred experience in the realm of astonishment, as the composition generates a presence that is beyond the ordinary by expanding on the elicited tangibles of sacred space. Astonishment in architecture was not found, or intended to be found, in this dissertation, however, the experience of the three rooms aligns somewhere close; a realm that shall be termed the ‘Architectural Wondrous.’ These spaces suffuse intriguing qualities that create an extraordinary cross section between delightful wonder and sacred ritual. While astonishment in architecture was not established, this body of work affirms that there is great presence in architecture where sacred connection is explored through the intersection of the tangible parameters of the Ineffable and the Sublime. This is a rich territory for discovery, and astonishment in architecture may yet be found here.
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