Thesis Book by John Knuteson

CONSTRUCTING EXPERIENCE VOLUME II

John Lewis Knuteson Undergraduate Thesis Virginia Tech School of Architecture + Design

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CONTENTS

I. Introduction

d ra w i n g i n d ex a b s t ra c t essay: on dwelling

7 8 11 13

II. Investigation

25 29 33

exercises memory o n d ra w i n g

III. Findings

36 38 40 42 44

color t ra n s p a re n c y scale light and shadow composition and movement

Additional Material

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INTRODUCTION

D R AW I N G I N D E X PERSPECTIVE SERIES 1 Study No. 1 2 Study No. 2 3 Study No. 3 4 Study No. 4

SECTION SERIES 5 Study No. 5 6 Study No. 6 7 Study No. 7 8 Study No. 8

AXONOMETRIC SERIES 9 Study No. 9 10 Study No. 10 11 Study No. 11 12 Study No. 12

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ABSTRACT

The thesis questions what it means to dwell and considers forms of inhabitation that transcend the physical boundary of the body. The work attempts to engage the inhabitant in spatial experience by sustaining questions of space. The exploration attempts to understand the moments that deepen the inhabitant’s engagement in architecture, and explore the notion of architecture as a metaphysical construct. Drawing is employed as a means to study the essential qualities of space. The work seeks an architecture that is freed from the constraints of the physical and the cognitive.

The ‘real architecture’ only exists in the drawings. The ‘real building’ exists outside the drawings. The difference here is that ‘architecture’ and ‘building’ are not the same. Peter Eisenman

â&#x20AC;&#x153;The painting is still an analogue. Only what manifests itself through it is an unreal collection of new things, of objects that I have never seen or ever will see, but which are not less unreal because of it, objects which do not exist in the painting, nor anywhere in the world, but which manifest themselves by means of the canvas, and which have gotten hold of it by some sort of possession.â&#x20AC;? J.P. Sartre, The Psychology of Imagination, 1940

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ON DWELLING

INHABITATION Inhabitation is the physical fulfillment of our nature, as humans, to dwell in and occupy space. As Heidegger reminds us, dwelling is a fundamental part of our humanity. It is the manner in which we exist. Because we are human, we seek inhabitation and glorify those works of architecture that enable it. The word “dwelling” has historically been used to describe our relationship with architecture. Despite its many definitions, the word seems to connote a different pace and elevated meaning, with an implication of space. Places where we live and rest are referred to as “dwellings.” When we dwell on something, we linger, allowing the intricacies and particularities of the object to enter our experience. Occupation and dwelling are both instinctive conditions. Occupation deals with the physical boundary of the body. We constantly occupy space because we exist in space. Dwelling is in our human nature. If we look to Heidegger’s definition, we see that there is a definite psychological component to dwelling. This is how we are able to dwell in spaces that we cannot physically occupy. Inhabitation is not purely physical, as occupation, and is more deliberate than the natural state of dwelling. Inhabitation is a heightened and active condition. It involves unity with a place, awareness of one’s self and the space one is occupying. Inhabitation clarifies the difference between space and place. Dwelling and occupation are both concerned with space. Inhabitation elevates space to place. Two defaults need to be considered in order to fully grasp the nature of inhabitation: the idea that inhabitation requires understanding, and the idea that inhabitation requires corporeal space. The profession of architecture, distinguished here from the discipline of architecture, uses representations as a means to build, and so they are necessarily referential. They themselves are not the object, but they

describe the object. For this reason, we often erroneously equate understanding with inhabitation. We wrongly believe that in order to experience a construct then we must first make sense of it. However, the constructs that we completely understand do not sustain us. Inhabitation occurs most readily when we do not understand, when we are confronted with the unfamiliar. To limit inhabitation to a physical state is to reduce it to occupation. In order to fully inhabit, then we must resist the urge to consider it literally. If we are to say that inhabitation requires active engagement of the mind, then we must also admit that it has consequences beyond the purely physical. The mind has the capacity to engage two-dimensional (pictorial) space as intensely as corporeal space. In order for the construct to reach its greatest potential, we must first be able to separate it from real space; in other words, it must cease to be a representation of real space. Frank Stella acknowledges that the task of the painting is to transcend boundary and surface, thereby involving the viewer in the inhabitation of space: “The act of looking at a painting should automatically expand the sense of that painting’s space, both literally and imaginatively. In other words, the spatial experience of a painting should not seem to end at the framing edges or be boxed in by the picture plane. The necessity of creating pictorial space that is capable of dissolving its own perimeter and surface plane is the burden that modern painting was born with.” -Working Space, 1986

Stella cites Caravaggio’s ability to create complex spaces by separating his paintings from “real” space. The pictorial space of the drawing becomes independent, activated by essential and autonomous qualities of space. The painting is indicative of a moment within an atmosphere, containing its own space. This phenomenon is particularly evident when examining Caravaggio’s larger body of work. The paintings share a coherence resulting from qualities of space that evoke a cohesiveness and a sense of

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F i g . 1 â&#x20AC;&#x153; T h e C a l l i n g o f S a i n t M a tt h e w â&#x20AC;? C a ra v a gg i o ( 1 60 0 )

pictorial space that is separate from “real” space. To inhabit, we must embody the space of the image. By merely seeing the image, we are focused on it as the representation of something absent. To begin to engage the space, the viewer must perceive; that is, the mind must work. The viewer must occupy the space as an independent construct. The mind attempts to make sense of the space based upon its previous experiences with reality. By addressing a limited number of architectural qualities, the drawing opens up more room for possibility. By withholding information, the analog prohibits the mind from completely understanding the space. This is present in the spatial explorations of El Lissitsky and his “imaginary space.” Imaginary space deals specifically with modern space and the axonometric convention. In a sense, we can present imaginary space in opposition to real space. Pictorial space is constantly fighting to free itself from real space and create autonomous experience. In his prouns, Lissitsky brings to bear questions of reversibility and plasicity, not in the image itself but in the embodied experience. The ability of axonometric space to simultaneously project from the surface and recede into its depths frees it from real space. We find yet another example of inhabitable space in the work of Joan Miró. In Fixed Ecstasy, Charles Palermo describes a pictorial space mediated by a penetrable, transparent surface (the symbiosis of the canvas and the medium) that, much like water, “to touch it at all is not just to penetrate it, but also to be in it.” This suggests the capability of the drawing to connect to the human experience and initiate inhabitation. We cannot only penetrate the surface of the painting, but also “be in it.” Palermo cites Miró’s use of transparency to suggest a somewhat mysterious and infinite receding space. We can recognize that it is not just the image, as an objective view, that opens the mind to spatial perception, but specific qualities of the physical medium that enable experience. The construct is not a view into an experience, but a generator of experience.

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“ H e a d o f a C a t a l n Pe a s a n t I V ” J o a n M i ró ( 1 92 5 ) 2

Untitled E l L i ss i t z k y ( c .1 92 5 ) 3

ANALOG The question of experience is best approached not through the image, but the analog. An analog does not merely imply experience, but serves as a portal, actively creating experience through a physical medium. According to Sartre, an analog is an image that is capable of evoking some internal experience, with both physical and metaphysical connotations. The analog, as a thing, may refer to something not physically present, termed by Sartre as “real,” to the viewer at a point in time. In this sense, the analog is a representation that has taken the place of something absent. However, the analog has the capability of creating a new experience, the metaphysical construct that Sartre refers to as “unreal.” Again, we can reference Lissitsky and his conception of imaginary space. The imaginary space provides a separation from real space and freedom from the surface and boundary of the image. Similarly, the goal of the analog is to diminish its presence as a representation so that the fullness of the experience can manifest through it. The medium carries the experience. As with Miró, qualities that are inherent in the medium have a direct relation to the experience that they evoke. The applications of these media are governed by conventions and defaults that dictate specific readings. For example, photography holds a unique set of characteristics, capturing form via light and shadow. In a conventional photograph, the sense of space is largely automatic and limited to the visual. The participant is an observer and assumes a passive role in the experience of the object. He or she may associate that image to a similar previous experience, and embody the experience of the representation. In order for the photograph to autonomously activate perception, the participant must actively engage it. The work of Lazslo Moholy-Nagy breaks the conventions of photography to create a new spatial experience. In his photograms, Moholy-Nagy uses light and the particularities of photography to actively engage space. The response of the participant is not predetermined by convention, but is a

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result of the authorâ&#x20AC;&#x2122;s intentional use of the medium. EXPERIENCE Experience involves the reception and interpretation of sensory information. This occurs sequentially through sensation, perception, and cognition. The stages of this sequence are constantly in flux and often overlap. The critical stage is perception, during which sensory qualities are connected and acquire meaning in relation to one another before arriving at a cohesive understanding of the whole. To prolong perception is to extend the experience. Coherence is a shifting quality. This is clearly illustrated in the work of RenĂŠ Magritte. There is an implied coherence resulting from the precision of the analog, but there are also contradictory elements that unfold and challenge the experience of space. We can see this effect at play in The Human Condition (1933). At first glance, we appear to be looking at a scene of a field framed by a window. However, upon further scrutiny, minor cues begin to unravel this experience. At first we detect the boundary of the canvas, followed by the slight shift of the image accounted for by perspective and the distance of the canvas from the picture plane. These cues completely change the experience of the space, and we can begin to perceive in new ways. Suddenly, what was first thought of as a window sill becomes a curb, and the wall, previously read as a vertical plane, is transformed into a horizontal surface. Magritte holds us with the illusion of coherence and correctness, while simultaneously challenging our understanding of space. The work of M.C. Escher creates a world which enables a perceptive experience but does not allow cognitive understanding. As viewers, we can experience and even inhabit the space, but the moment we attempt to understand it, we are lost. The result is a purity of experience. We are solely experiencing qualities of space, not objectifying the construct.

Iakov Chernikov understood this in his approach to graphic representation: “We must approach the depiction of real objects from the direction of ‘nonobjectivity’...with the help of new devices, a new approach, we can still use representational art to communicate our ideas without there being an objective subject matter.” -The Art of Graphic Representation, 1927

The tensions in the work of M.C. Escher are explored more subtly in the metaphysical paintings of Giorgio de Chirico. These paintings challenge perspective and our understanding of space, interjecting isometry and oblique projection in moments where we would expect a one- or twopoint perspective. This combination of conventions not only denies a cognitive understanding of the whole, but elevates the experience of certain moments within the piece. Conventions of architectural representation are powerful tools that can be used to produce intense spatial experience. The illusory quality resulting from the architecture creates a meta-stable condition of perception. The mind seeks to resolve contradicting components of the architecture which ultimately cannot be resolved. The constant drive to understand ensures a prolonged engagement and inhabitation of the space. The work included in this volume does not endeavour to script experience but to evoke it. As architects, we must recognize that there are some aspects of experience that are universal and unify the human experience. These are tied together in our nature as humans to dwell and seek inhabitation.

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“The Human Cond i t i o n ” Rene Magritte (1933 ) 4

“Waterfal l” M.C. Escher (1961) 5

“The Mystery and M e l a n c h o l y o f a S t re e t ” Giorgio de Chirico ( 1 9 1 4 ) 5

I N V E S T I G AT I O N

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EXERCISES

A series of intuitive constructs initiates the creative process and establishes a set of criteria within which to operate. Spatial experiences begin to emerge within the constructs: the viewer can inhabit color, encounter passage and threshold, perceive framed elements, and detect order. A series of drawing exercises follows, attempting to capture space and depart from representational accuracy.

EXERCISES

E X P L O R AT I O N I MODELING

E X P L O R AT I O N I I ISOMETRIC

The thesis is first explored through modeling. The models are constructed quickly and intuitively and viewed as tools to extract qualities of space.

Spatial experiences begin to occur within the models and are explored through drawing. The viewer can inhabit color, encounter passage and threshold, perceive framed elements, and detect order.

The contours serve as a means to separate the experience from the object. The drawings do not reflect the literal image of the models, but embody their spatial, formal, and tactile qualities.

The isometric drawings raise questions of seeing and perception. How is the definition of seeing broadened, and how does one adequately capture these experiences in a drawing? What is the drawing that emerges as a result? 26 - Volume II

E X P L O R AT I O N I I I BLIND CONTOUR

E X P L O R AT I O N I V COLOR FIELD

Attempting to capture space using fields of pure color, avoiding the default of lines and lineweight.

Drawing only shadows draws focus from the object and captures its effect on space through interaction with light. The resulting image can be read as a reflection of the model or a new construct in itself.

The initial drawings serve to establish the medium. Pastel was initially chosen based on its ability to evoke ambiguity. This quality develops and pushes the investigation. These initial explorations can be seen as attempts to challenge the medium and produce spatial quality.

E X P L O R AT I O N V SHADOWS

E X P L O R AT I O N V ARCHITECTURAL IMAGES 6

A final series attempts to translate the experience of the model into a construct of an architectural nature. Ideas of scale, transparency, thickness, and light and shadow are incorporated. A pedestrian perspective incorporates the viewer in the space.

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MEMORY

The drawings employ both memory and imagination, recognizing that it is the nature of memory to be incomplete, and the nature of imagination to seek completeness. Memory is based on perception, the boundaries of which are constantly in flux. The memory is not linear; it is constantly shifting as we zoom out and focus in on elements of different scales. The initial architectural investigations employ memory as a way of distilling and identifying essential qualities of space. The result is a sensible atmosphere informed by the event of the memory rather than the object. Perception is privileged over cognition.

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O N D R AW I N G

Drawing is one of the many tools available to the architect to explore and create space. This thesis is about drawing as a tool for seeing and capturing space. The series challenges the authorâ&#x20AC;&#x2122;s ability to construct space by increasing resistance to experience. Three conventions are employed to catalyze this process: 1. Perspective provides an automatic perception of space by incorporating the viewer within its space. The convention usually denies an objective, measurable conception of space due to distortion. It is the most closely associated with experience. 2. Section resists experience by removing the vanishing point, requiring the viewer to project the human body into the space. The viewer encounters a series of spaces, rather than being enveloped by space. 3. Axonometric privileges objective understanding by implying a measurable whole. The viewer is positioned exterior to an object, requiring the mind to work harder to experience space. There is a paradox between the conception of the object (exterior) and the experience of space (interior). By denying corporeal experience, the drawing requires the mind to work harder to perceive space. The drawings strive to delay familiarity with an object or a knowable whole, allowing the essential qualities of space and experience to be perceived. The drawings share an ambiguous quality that allows the viewer to dwell within them. The drawings do not represent anything outside of themselves; they are tools for seeing and capturing space. Through their making, a heightened awareness and refined sensibility to the essential qualities of space can emerge.

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FINDINGS

COLOR

â&#x20AC;&#x153;In order to use color effectively it is necessary to recognize that color deceives continually.â&#x20AC;? -The Interaction of Color, 1963

The rendered condition of the drawing has the ability to change or challenge the expected experience of space. The rendering transcends the recognition of the architectural object and instead draws awareness to the event of the experience. Color serves as a neutralizer throughout the perspective series, disabling the reading of the drawing through rational means. The perspectival convention is intended to correctly imitate the way that the eye recieves information. Therefore, it is the most represenative of our architectural experience. In this sense, the perspective is performative; it attempts to reproduce an experience with which our minds are familiar, and with which we have a spatial association. In section, the viewer is not incorporated in space; the drawing requires an additional step to project the body. Therefore, the use of color becomes detached from the totality of the experience. Instead, color is used to render moments of inhabitable space. Enabled by the convention, color is a signifier that allows the viewer to encounter a sequence of related spaces. The axonometric presents a new set of criteria that are related to the architectural object. It is concerned with revealing the objective, quanitifiable characteristics of the construct. This convention dictates a reading that includes the undistorted totality of the object, usually from an elevated exterior view. In this case, color presents the opportunity to reverse the objective reading, creating a tension between the convention and the rendered condition.

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E X P L O R AT I O N : ARCHITECTURAL IMAGES

This exercise attempts to translate the experience of a model into a construct of an architectural nature. The application of color is established as an essential component of experience. In this case, the coloring does not reflect a literal material quality. The use of mono-chromatic schemes does not allow an objective reading of architecture. Instead, the viewer is surrounded by colored space, encompassing the event of the experience. The presence of color becomes a frame, detaching the viewer from physical space and projecting him or her into the space of the drawing.

T R A N S PA R E N C Y

Concealment is an essential quality of the perspectival convention. The perspective positions and orients the viewer in space. According to the convention, the viewer should not be able to see through opaque objects. Therefore, when an opaque object has been made transparent, the object that has been made visible gains hierarchical significance. In many cases, this quality correlates with light and shadow. The most relevant example of this device occurs in Study No. 3 (Plate III). In one instance, The wall perpindicular to the picture plane is transparent, affording a view of the solid volume beyond. However, as the viewer moves to the left, they encounter an intense shadow that, when cast against a surface, seems to indicate a solidity and opaqueness. The collision of this moment and the shear quality revealing the obelisk beyond produces a metastable condition in which the wall shifts between transparency and opacity. In contrast to the perspective series, the sections are generally void of transparency. They embody a massiveness and gravity that is less present in the perspectives. Because it is a parallel projection, the section affords a simultaneity that is not possible in the perspective. Rather, compositional tension is achieved via form and shadow. Transparency makes a reappearance in the axonometric series. In the axonometric, transparency is again used to break the preconceptions of the convention. The absence of a vanishing point confuses the perception of depth, allowing the convention to dictate the spatial reading of certain objects in front of others. Transparency re-introduces the notion of simultaneity in three dimensions.

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Transparency is an essential quality of the medium. The pastel is applied through a process of shaving and smudging, producing a range of opacities that inform the experience. The use of transparency departs from a literal interpretation. Instead of indicating the relative transparency of a material, it is used as a device to create tension and extend the experience of the drawing. 6

As with the image to the left, a transparent object casting an opaque shadow calls into question its spatial presence. Two disparate qualities - transparency and opacity - contribute to its existence in space. These heighten the awareness of the object and sustain the viewerâ&#x20AC;&#x2122;s engagement.

SCALE

S cale is implicit in the drawings, and is left to the interpretation of the viewer. The eye will automatically assume a pedestrian view point, placing the vanishing point approximately at eye-level. This placement, along with the size of the page, is critical to inhabiting and experiencing the space at human scale. In perspective, scale is sensed by the placement of the vanishing point. It is implied that the spaces could be quite massive, with the scale figure being very small. The absence of a scale figure re-emphasizes the event of the experience rather than the representation of space. The scale figure becomes the viewer him or herself. In the section, less information is present to determine scale. The viewer must exert more to project the body into space. Regarded in sequence, the scalar qualities of the perspectives transfer to the sections. It is perceived that some of these figures and volumes could have a similar scale and presence as those in the perspectives. In the sections, scale also plays a more compositional role. For example, in Study No. 8 (Plate VIII), the ability of objects at a smaller scale to influence space through light and shadow elevates their importance to the composition. The diversity of scale establishes reference and coherence within the composition and enables a more dynamic spatial reading. In the axonometric convention, scale is again a quality which allows the viewer to move through space. The mind will automatically scale the drawing so that the human body can be projected into the space. We imagine these moments as rooms, moments of occupiable space. In this series moreso than the others, the scale is not determinate. Rather than a fixed scale, the mind will zoom in and out and occupy the space at multiple scales. In this way, the quality of scale contributes to the spatial ambiguity of the drawings.

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Plate VI - Study No. 4

The size of the drawings enables them to impact real space, contributing to the scale of the experience. The scale is not only a physical quality of space, but an impression of the space. The viewer is free to imagine that the scale figure could be infinitely small in space, prolonging engagement with the space of the drawing. The size also requires the eye to wander across the page, rather than perceiving the space in one glance. This increases the impact of opposing or contradicting moments within the drawing.

LIGHT AND SHADOW

Light and shadow are essential to the spatial enagement of the drawing. It is through the interaction of light and shadow that we understand the objects in space and their relationship to one another. It is also the presence and capturing of light that indicates inhabitable space. The shadow adds a dimension of physicality to the perception of depth. The use of color and value is diagrammatic of depth, but gives little information as to the dimensionality of the space. The use of light and shadow actually positions the object in space. Light and shadow become the ultimate unifying qualities of the section, providing a coherence and consistency of composition that allows the viewer to project the body in space. The drawing seeks a state of metastability: on the verge of collapse, but held together by the viewerâ&#x20AC;&#x2122;s suspension of disbelief. The shadows provide another layer of information for the viewer to engage the drawing. Shadows provide a way to understand the space without depending on objective qualities of the whole. The drawings want to suspend the cognitive experience. Light and shadow have little existence in the axonometric convention, perhaps because objectivity is privileged over experience. Rather than trying to incorporate shadow, a typical indicator of our interaction with space, the axonometric attempts to work within the convention to draw out experience, allowing the drawing to exist autonomously of any preconception of space.

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E X P L O R AT I O N : SHADOWS

This exercise attempts to convey objects in space using only their shadows. The drawings reveal a spatial understanding without the cognitive understanding of the object. The shadows provide enough information to understand thickness, height, geometry, and even opacity while still maintaining ambiguity, allowing the space to be interpreted in multiple different ways.

COMPOSITION AND MOVEMENT

The drawings, though they strive to be non-objective, are undeniably compositional. It is the composition that sets up our experience of space. Composition deals specifically with frame and movement. The perspective incorporates the viewer with a position and orientation in space. Because of the vanishing point, the viewer moves into the page, toward the horizon. Therefore, the vanishing point provides an automatic sense of compositional center and balance. Unlike the perspective, the section reveals multiple spaces simultaneously. Consequently, the section is experienced laterally, or parallel to the page. This is important because it allows the viewer to experience space beyond the boundary of the page; the frame becomes more present. The composition is critical to how these spaces are engaged. In Study No. 5 (Plate V), the movement is primarily horizontal, unaffected by gravity. The viewer is free to encounter these spaces and interpret them more liberally, making for a dynamic spatial experience. In Study No. 7 (Plate VII), the movement is primarily vertical, incorporating gravity. The space becomes less dynamic, because the body, influenced by gravity, is limited in the spaces that it can engage. The movement within the axonometric is similar to the section, while re-introducing the third dimension. The eye pans across the page and encounters separate moments within the composition. There is no vanishing point to provide reference and hierarchy. Therefore, movement within the axon is closely related to the experience of the drawing, rather than a representation of space. In a similar way, horizontal movement is preferred over vertical movement. In Study No. 9 (Plate IX), it is the horizontal space that allows the viewer to navigate the drawing. Confronted only with vertical space, the movement is controlled by gravity, rather than the viewer.

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Plate V - Study No. 5

Plate VII - Study No. 7

Plate IX - Study No. 9

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A D D I T I O N A L M AT E R I A L

The thesis is an exploration of a complex, non-linear process. The following compendium documents the various influences and outcomes, both expected and unexpected, that have in some way impacted the direction of the work.

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CONTENTS

I. The Medium

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exploring space through pastel palettes

I I . T h e To o l

constructing experience

I I I . Wo r k S p a c e

I V. B i b l i og ra p h y

V. I l l u s t ra t i o n s

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THE MEDIUM

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E X P L O R I N G S PA C E T H R O U G H PA S T E L

The body of work challenges the conventional modes of architectural representation and their capacity to actively engage human inhabitation. The drawings endeavor to establish an autonomous experience and extend the readerâ&#x20AC;&#x2122;s perception of space. The medium of pastel enables an intensification of spatial experience. The pastelâ&#x20AC;&#x2122;s physical qualities of color, transparency, and texture become integral to the experience of the drawing, not in a literal or representational sense, but as a lens for the event of the experience. The medium is applied through a process of shaving and smudging, either with a cloth or the hand. This process produces irregularities and a range of opacities that inform the experience. Depending on how it is applied, the pastel can produce a crisp, opaque edge or an ambiguous field of color. Deployed within the same drawing, these qualities create a compositional tension that intensifies as the drawing increases in size and presence. The resulting works embody the ethereal quality inherent in the medium and engage our human nature to dwell and inhabit.

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PA L E T T E S

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THE TOOL

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CONSTRUCTING EXPERIENCE

The notion of constructing an experience through drawing called for a different tool than those of conventional architectural drafting, which require a high degree of precision both before and during the construction of the drawing. The simple constraint of the size of the drawing required a larger drawing tool, so that the experience was not constrained by the limitation of the toolâ&#x20AC;&#x2122;s length. The tool had to be able to reach entirely across the page, both horizontally and vertically, allowing a continuous line the length of the page to be drawn. Apart from the size of the page, the process of drawing required a tool that would enable the mind to be engaged in the experience, rather than the mechanics of drawing. The conventional drawing tools, a t-square and triangle, require a two-part process: first setting the tool, and then using it to draw. The ideal tool would allow this to happen simultaneously, so the mind is free to be completely engaged in the world it is creating.

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W O R K S PA C E

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â&#x20AC;&#x153;In the studio Caravaggio created his own space. There he embodied it in paintings that were later brought out into public view...â&#x20AC;?

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BIBLIOGRAPHY

Albers, J. (2006). Interaction of Color (Revised and Expanded Edition). New Haven: Yale University Press. Andersen, M. A., & Oxvig, H. (2009). Paradoxes of appearing: Essays on art, architecture and philosophy. Baden, Switzerland: Lars Müller Publishers. Baldacci, P., & De, C. G. (1997). De Chirico: The metaphysical period, 1888-1919. Boston: Little, Brown. Chernikhov, I. A. G., Architecture Foundation., & Iakov Chernikhov International Foundation. (1993). Iakov Chernikhov, architecture of fantasy. London: Architecture Foundation. Cooke, C., & Papadakes, A. (1989). Iakov Chernikhov’s architectural fantasies. London: Academy Editions. Moholy-Nagy, L., Fiedler, J., Moholy-Nagy, H., & Bauhaus-Archiv, Museum für Gestaltung. (2006). László Moholy-Nagy: Color in transparency : photographic experiments in color 1934-1946 = Fotografische Experimente in Farbe 1934-1946. Göttingen: Steidl. Moholy-Nagy, L., Heyne, R., Neususs, F. M., Moholy-Nagy, H., & Molderings, H. (2009). Moholy-Nagy: the photograms: catalogue raisonne. Ostfildern: Hatje-Cantz. Palermo, C. (2008). Fixed Ecstasy: Joan Miro in the 1920’s. University Park, Pennsylvania: The Pennsylvania State University Press. Perez-Gomez, A., & Pelletier, L. (1997). Architectural Representation and the Perspective Hinge. Cambridge, Massachussetts: The MIT Press.

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Robison, A., & Piranesi, G. B. (1986). Piranesi--early architectural fantasies: A catalogue raisonneĚ of the etchings. Washington: National Gallery of Art. Rossi, A., & Celant, G. (2008). Aldo Rossi: Drawings. Milano: Skira. Sartre, J.-P. (1972). The psychology of imagination. London: Methuen. Stella, F. (1986). Working space. Cambridge, Mass: Harvard University Press. Umland, A. (2008). Joan Miro: Painting and Anit-Painting. New York: The Museum of Modern Art. Vinciarelli, L., Hodge, B., Hays, K. M., Agrest, D., Ockman, J., & Harvard University. (1998). Not architecture but evidence that it exists: Lauretta Vinciarelli, watercolors. Cambridge, Mass: Harvard Graduate School of Design. Warde, B. (2000). The Crystal Goblet. In G. Swanson, Graphic Design & Reading: Explorations of an Uneasy Relationship (pp. 91-95). New York: Allworth Press.

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I L L U S T R AT I O N S

da Caravaggio, Michelangelo. The Calling of Saint Matthew. 1599-1600. San Luigi dei Francesi, Rome. Web Gallery of Art. Oil on Canvas, 322 x 340 cm. 20 February 2014. 1

Miró, Joan. Head of a Catalan Peasant IV. 1925. Moderna Museet, Stockholm. http://www.math.dartmouth.edu. Oil painting technique and color pencils, 147 cm × 115 cm. 14 April 2014. 2

Lissitzky, El. Untitled. c.1925. http://www.ibiblio.org/eldritch/el/elc.html. Ink and watercolor collage, 15 April 2014. 3

Magritte, Rene. The Human Condition. 1933. National Gallery of Art, Washington, DC. http://www.renemagritte.org. Oil on canvas, 100 cm × 81 cm. 14 April 2014. 4

Escher, M.C. Waterfall. 1961. http://www.mcescher.com. Lithograph, 300mm x 380mm. 24 March 2014 5

de Chirico, Giorgio. The Mystery and Melancholy of a Street. 1914. Private collection. Oil on canvas, 85 x 69 cm. http://www.wikipaintings. com. 4 November 2013. 6

thank you Paola, for constantly chal lenging me My father, mother, and stepfather, for always loving and supporting me My col leagues for inspiring me And to al l the faculty who have encouraged me this year.

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P h o t o C re d i t : P a o l a Ze l l n e r , 20 1 4