THE COLLECTOR AMASSES TO UNDERSTAND AND TRANSFORM THE SELF. THE COLLECTION SIGNIFIES A COLLECTIVE SET OF CHARACTERISTICS WITH WHICH THE COLLECTOR ATTEMPTS TO ASSIMILATE. THE IS-NESS OF THINGS BECOMES THE AM-NESS OF SELF. THIS THESIS DWELLS ON THE DEEP ENTANGLEMENT BETWEEN OBJECTS, SPACES, AND PEOPLE. PEDAGOGICALLY, THIS THESIS ATTEMPTS TO ADDRESS THE EPISTEMOLOGICAL ROLE OF MODEL-MAKING IN ARCHITECTURE.
Collector (1) (2) (3) (4)
COLLECTOR OF LUMP COLLECTOR OF SAND COLLECTOR OF STONES COLLECTOR OF STOLEN OBJECTS
07 – 30 31 – 54 55 – 78 79 – 94
INDEX BIBLIOGRAPHY
98 – 99 100 – 101
Collection Collective CONTENTS
00 – 01
DESIGNED & EDITED BY
COLLECTOR
COLLECTION
COLLECTIVE
INTRO
JOSH REN, 2022 MEI AHN, 2022
02 – 03
THE COLLECTOR IS BOTH THE DESIGN NARRATIVE OF THE ARCHITECTURE AND THE METANARRATIVE OF THE THESIS:
[Design Narrative] There are four collector protagonists in this thesis. They are from Virginia Woolf’s Solid Objects, Italo Calvino’s Collection of Sand, Kendra Greene’s The Stone Collector, and Myla Goldberg’s Bee Season. The texts provide detailed descriptions of the inhabitants, their collected objects, and the interactions between them. These narratives condition the intuition during the design process.
SUBJECTIVE ONENESS IN THE PHYSICAL ENVIRONMENT
[Meta Narrative] The architect is the collector, designing is collecting, and process models are objects of the collection that will induce a collective spatial identity.
COLLECTOR
COLLECTION
COLLECTIVE
INTRO
Physical model making is central to this thesis. Models are made intuitively in response to the text and as abstractions of the collections. The ambiguity of scale and boundary of the objects invites people to make new associations and dwell in a field of possibilities. Serendipitous moments that occur during the making are caught when models accumulate. As these subtle tendencies inform the defining characteristic of each space, the properties of the models begin to behave as stand-ins for actual material constructions. The architecture slowly emerges in the push-and-pull between the abstract order of the model and the material affordances of reality. In short, the architect embodies the collector, and the collector projects himself onto the collection. One shift from “dwelling in an object” to “dwelling in a space”. This chain of relationships establishes subjective oneness between objects, spaces, and people.
04 – 05
The four series were worked on simultaneously and the models are documented in chronological order. However, the last model is not the “final” model that marks the end of the project. It is simply the latest stage it has arrived at on the last day of the thesis. Thus, each project has arrived at a slightly different place from one another.
COLLECTOR OF LUMP
SOLID OBJECTS, VIRGINIA WOOLF
House (1)
of Lump COLLECTOR
COLLECTION
COLLECTIVE
06 – 07
The lump collector is fascinated by fragmented curved surfaces. “Anything, so long as it was an object of some kind, more or less round, perhaps with a dying flame deep sunk in its mass, anythingchina, glass, amber, rock, marble-even the smooth oval egg of a prehistoric bird would do.” He dwells in the ambiguous forms of the lumps and constantly speculates on their origins… How were the lumps formed? This thought initiated a list of actions. Flexible materials were “stretched” around a rigid frame. Thin planes were “warped” as the paint was applied. Surfaces were “cupped” by inserting a wedge between the cuts. Lumps were “scooped” from a dense block. Thin strands were “draped” across an array of ridges. When forces are applied from different directions, the surface creates a series of lumps, which initiates placemaking. Like the rims of sea glass, albeit fragmentary remain continuous. The sea glass is the first object to be found by the collector while walking by the sea. The ambiguous edges are formed by the brushing of the waves. Situated on the shoreline, the architecture also became an artifact shaped by the sea. The waves gently brush against the mass, creating a subtle undulation in the mass. When approached from the land side, the architecture appears as a continuous surface. The structure is elevated to allow the passage of water during tidal changes. A path “pushes” into the surface, an invitation. The space becomes more fragmentary upon entry. Surfaces were bent, stretched, scooped, and peeled to form spaces of inhabitation. The lump collector dwells between the fragmented moments of the surfaces and the continuous field of the mass.
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
08 – 09
“When the sand coating was wiped off, a green tint appeared. It was a lump of glass, so thick as to be almost opaque; the smoothing of the sea had completely worn off any edge or shape, so that it was impossible to say whether it had been bottle, tumbler or window-pane; it was nothing but glass; it was almost a precious stone. You had only to enclose it in a rim of gold, or pierce it with a wire, and it became a jewel; part of a necklace, or a dull, green light upon a finger.”
“John turned it in his hands; he held it to the light; he held it so that its irregular mass blotted out the body and extended right arm of his friend. The green thinned and thickened slightly as it was held against the sky or against the body. It pleased him; it puzzled him; it was so hard, so concentrated, so definite an object compared with the vague sea and the hazy shore.”
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
10 – 11
Chipboards were bent and joined to form a continuous surface that folds back and forth, in and out. The void in the middle gave the material space to be bent more naturally.
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
12 – 13
“The contrast between the china so vivid and alert, and the glass so mute and contemplative, fascinated him, and wondering and amazed he asked himself how the two came to exist in the same world, let alone to stand upon the same narrow strip of marble in the same room.”
“Anything, so long as it was an object of some kind, more or less round, perhaps with a dying flame deep sunk in its mass, anything-china, glass, amber, rock, marble-even the smooth oval egg of a prehistoric bird would do.”
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
14 – 15
“In truth, John had been that day to Barnes Common, and there under a furze bush had found a very remarkable piece of iron. It was almost identical with the glass in shape, massy and globular, but so cold and heavy, so black and metallic, that it was evidently alien to the earth and had its origin in one of the dead stars or was itself the cinder of a moon. It weighed his pocket down; it weighed the mantelpiece down; it radiated cold. And yet the meteorite stood upon the same ledge with the lump of glass and the star-shaped china.”
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
16 – 17
Inspired by the text about the dark mass the collector found, this model began by painting the chipboard with black acrylic. Touched by the slightly wet acrylic paint, the chipboard began warping. This leads me to imagine a compressed space where the walls are bent inward. Light seep in where there is excessive bending.
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
18 – 19
The idea of space emerging from the unfurling of surfaces was explored.
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
20 – 21
The thin wood pieces are cut and bent along their grain. The thick plank of plank holds the thin planes in place. Grains and varying thicknesses of the planes began to emerge.
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
22 – 23
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
24 – 25
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
26 – 27
COLLECTOR
COLLECTION
COLLECTIVE
(1)
LUMP
28 – 29
COLLECTOR OF SAND
COLLECTION OF SAND, ITALO CALVINO
House (2)
of Sand COLLECTOR
COLLECTION
COLLECTIVE
30 – 31
The sand collector is a traveler. She brings home the sand from each place she has visited as mementos. They not only serve as capsules for space but also time and states of mind. As the collection grows, her perception of the world became more and more “granular”, “understanding how and to what extent the world that has been ground down and eroded can still find in sand a foundation and model”. Each time a jar of sand is brought back, the space is split. Everything is split in search of the precise grain of the space. Planes cascade, lines jog. The intersection of gaps initiates spacemaking. The edges of a surface no longer define its finitude, through splitting, a whole new dimension is introduced. The models oscillate between constructing voids with thin planar materials and excavating voids with dense block materials. The sand collector dwells between the voids of the gaps and the materialization of the gaps.
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
32 – 33
“This person travels the world and-on arrival at a sea-shore, the banks of a river or lake, or a desert, or wasteland-gathers a handful of sand and takes it away. On returning home, thousands of little jars are waiting, lined up on long shelves: inside them the fine grey sand of Lake Balaton, the brilliant white particles from the Gulf of Siam, the red shingle that the Gambia river deposits on its course down through Senegal, all display their not particularly vast array of nuanced colours, revealing a uniformity like the moon’s surface, despite the differences in granulosity and consistency, from the black and white sand of the Caspian Sea, which seems to be still bathed in salt water, to the tiniest pebbles from Maratea, which are also black and white, to the fine white powder speckled with purple shells from Turtle Bay, near Malindi in Kenya.”
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
34 – 35
“The collection of sands that have been selected chronicles what remains of the world from the long erosions that have taken place, and that sandy residue is both the ultimate substance of the world and the negation of its luxuriant and multiform appearance.”
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
36 – 37
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
38 – 39
“Actually, just like every collection, this one is a diary as well: a diary of travels, of course, but also of feelings, states of mind, moods, even though we cannot be sure that there really is a correlation between on the one hand the cold, earth-coloured sand from Leningrad, or the very fine sandcoloured shingle from Copacabana, and on the other the feelings the sands arouse when we see them bottled and labelled here (...) Her own days, minute by minute, thought by thought, reduced to a collection: life ground down to a dust-cloud of tiny grains: sand, once more.”
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
40 – 41
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
42 – 43
“And yet, the person who has had the persistence to continue this collection for years knew what she was doing, knew where she was trying to get to: perhaps this was her precise aim, to remove from herself the distorting, aggressive sensations, the confused wind of being, and to have at last for herself the sandy substance of all things, to touch the flinty structure of existence. That is why she does not take her eyes off those sands, her gaze penetrates one of the phials, she burrows into it, identifies with it, extracts the myriads of pieces of information that are packed into a little pile of sand. Each bit of grey, once it has been deconstructed into its light and dark, shiny and opaque, spherical, polyhedral and flat granules, is no longer seen as a grey or only at that point begins to let you understand the meaning of grey.”
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
44 – 45
Leaving the planar material, medium density fiberboards (MDF) were experimented with. I used the table saw to cut grooves into the thick material, which allowed me to insert new planar materials into it. The gap began to morph into a variety of thicknesses and directions.
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
46 – 47
The gap can be interpreted as the separation and distancing of things. The elements interact with each other through an intermediate structure, creating the sense of suspended.
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
48 – 49
The gap meanders here. From one side, the gap creates a void in a mass, from the other side, the gap can be viewed as the mass.
COLLECTOR
COLLECTION
Gaps can morph from mass to void. The intersection of gaps structures itself, maintaining the dimensions of the gap.
COLLECTIVE
(2)
SAND
50 – 51
“Perhaps by staring at the sand as sand, words as words, we can come close to understanding how and to what extent the world that has been ground down and eroded can still find in sand a foundation and model.”
COLLECTOR
COLLECTION
COLLECTIVE
(2)
SAND
52 – 53
COLLECTOR OF STONE
THE MUSEUM OF WHALES YOU WILL NEVER SEE, A. KENDRA GREENE
House (3)
of Stone COLLECTOR
COLLECTION
COLLECTIVE
54 – 55
The stone collector lives on a hill. She explores the hill every day and collects stones on every walk. When she encounters an endearing stone that is too big to move, she would create a path that would connect her house to the stone, expanding the scope of her collection. The stones are both objects of affection and demarcations of space. Like the strata one finds in a stone or a section of the earth, space-making is initiated with the act of stacking. Void is found from the sliding and intersecting of the stacked mass. The stone collector honors the original site of the stone. The structure cascades along the hill to meet the stones. The serendipitous nature of the discovery was introduced in the model-making process. Models were often cast without clear planning, some casts were simply the result of blocks being thrown into the mold.
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
56 – 57
“Almost everyday of her life, Petra went for a walk.”
COLLECTOR
COLLECTION
“And on almost every walk, they say, she found a stone”
COLLECTIVE
(3)
STONE
58 – 59
The corner was constructed out of museum boards but the void was conceived as a result of the intersection of two masses.
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
60 – 61
“And when the little family could spare no more room inside the little home, the stones spilled out again, filled up shelves erected outside and covered over benches and spread through the garden, stretching back up the hill: a reverse avalanche, unspooling in slow motion, rock by rock, as if gravity were calling these stones back up to the peaks like a tide.”
“(...) perhaps I should clarify that I do not mean some plain-Jane piece of rock. I mean eyecatching. I mean white whisker-width spines radiating out in clusters like so many cowlicks. I mean a green between celery and mustard, pocked with pinprick bubbles and skimming like a rind over a vein that’s crystal clear at the edges but clotting in the middle to the color of cream stirred into weak tea. I mean crystals like a jumble of molars and I mean jasper in oxblood and ocher and clover and sky, sometimes a hunk of one color but more likely a blend of two or three or five, maybe like ice creams melting together, or perhaps like cards stacked in a deck.”
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
62 – 63
This was a cast of two layers of form boards. A block of material was offset on the corner, creating a void in the misalignment of the mass.
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
64 – 65
The positive of this cast was made as an aggregation of variously sized foam blocks. The cast of it reveals a void meandering through the mass.
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
66 – 67
“Even now the family talks about how they make all the museum’s decisions together. They talk about how they’ve never disagreed. They say that together, that night of the funeral-instantly, unanimously- they decided it was time to open the gates to the public.”
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
68 – 69
Voids in mass appear differently by how one cuts open the mass. The vertically cut slop reveals the artifacts hidden in the void.
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
Two layers of rectangular foam blocks were arranged in an assortment of 90 and 45-degree positions. After casting, spaces emerge from the previously intersecting masses.
70 – 71
“But I wasn’t in Petra’s hills one afternoon before I saw that the trick had nothing to do with the odds of encounter. It wasn’t a matter of equipment, and it had nothing to do with opening my eyes or my heart or whatever. This was more of a Goldilocks proposition, merely a matter of the patience to find a stone neither too big nor too small. This was only waiting to choose the thing worth holding on to, the thing worth taking home. ”
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
72 – 73
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
74 – 75
COLLECTOR
COLLECTION
COLLECTIVE
(3)
STONE
76 – 77
COLLECTOR OF STOLEN OBJECTS
BEE SEASON, MYLA GOLDBERG
House (4)
of Kaleidoscope COLLECTOR
COLLECTION
COLLECTIVE
78 – 79
The Kaleidoscope House is for a collector with a compulsive stealing condition. She does not steal for the objective value of things but for the sense of nostalgia an object triggers. After bringing the objects back to her warehouse, she deconstructs and reconstructs them with the rest of her collection, forming a labyrinth that she calls “the kaleidoscope”. She eagerly searches for a sense of belonging for both the objects and herself in these cycles of transformation. Studies began with the studies of hinged elements. A chain reaction between elements is caused by particular placements of the hinges. A procession of hinged screens forms a flexible lattice structure. When collapsed, it becomes a dense mass. When stretched, space is formed between the weaves of the planes. The placement of things between the lattice restricts movements. This collector dwells within the labyrinth of hinged structures and spaces, between the collapse and expansion of a dense mass.
COLLECTOR
COLLECTION
COLLECTIVE
(4)
KALEIDOSCOPE
80 – 81
“The first time Perfectimundo finds Miriam, it is a complete surprise, a game of hopscotch in which the stone falls into the perfect center of square 3. It is a magic moment. The absolute rightness of the stone’s placement in the square opens something deep inside Miriam that had, until this moment, always been shut. Miriam can feel the release. Her body fills with warmth at the sight of the stone, beckoning like a talisman to another world. It is this other world that Miriam wants to inhabit, this other world to which she really belongs.”
COLLECTOR
COLLECTION
COLLECTIVE
(4)
KALEIDOSCOPE
82 – 83
A lattice structure was conceived as an array of folded screens, interconnected with each other. The insertion of planes limits its flexibility.
The surface gained more thickness and structures were embedded in it. Cut at different locations, the structure and surfaces began to offset when folded over. A surface of an entry is bent. The bottom part of the I-beam was peeled away from its main structure to support the bend. The structures peeling away from the surface began to emerge.
COLLECTOR
COLLECTION
COLLECTIVE
(4)
KALEIDOSCOPE
84 – 85
“Later that same year Miriam receives a kaleidoscope as a gift. When she first puts it to her eye, she forgets to breathe. It is a window into the world of the perfectly thrown stone, the land of Perfectimundo. Miriam wishes she could squeeze through the eyehole and into the tube, joining the flawless symmetry. Failing that, she decides she is fully prepared to spend the rest of her life holding the cylinder to her face.”
“The kaleidoscope is grabbed away just as Miriam realizes that the movement did not destroy perfection, but created it anew.”
COLLECTOR
COLLECTION
COLLECTIVE
(4)
KALEIDOSCOPE
86 – 87
The weaving of the lattice structure is translated to the weaving of space in this model. Space can be found by sifting through the dense weave.
COLLECTOR
COLLECTION
COLLECTIVE
(4)
KALEIDOSCOPE
88 – 89
“Miriam has learned not to anticipate what she is meant to find (...) The very unpredictability of her quarry, its existence outside the confines of aesthetic and monetary value, confirms the nobility of her search. She is no petty thief. She is compelled by a force far superior to material gain.”
“When Miriam has pocketed an item, she experiences the ideal pregnancy. There is no round-belly reminder of something inside, feeding upon her in order to grow.”
COLLECTOR
(4)
COLLECTION
COLLECTIVE
KALEIDOSCOPE
90 – 91
COLLECTOR
COLLECTION
COLLECTIVE
(4)
KALEIDOSCOPE
92 – 93
CONCLUSION
The (5)
Fifth Collector COLLECTOR
COLLECTION
COLLECTIVE
94 – 95
THE PROCESS OF COLLECTING
COLLECTOR
COLLECTION
Collecting is about the impulsive search and the mindless wander, which nurtures the substrate upon which architecture propositions grow. On the other hand, the emergence of architecture requires organization and reasoning. In the process of distilling each collection into an essential model that could hold the collective characteristics of the objects, the fifth collector (the architect) notices his tendency to draw lines on his model materials before using them, like applying an abstract grain to the model materials, as if creating a new piece of matter, a new substance. Merriam Webster defines “substance” as: “Physical material from which something is made or which has discrete existence”. Like a piece of wood when you break it, the grains influence the direction of the rupture, Ruptures activate the receded grains and reveal “space” within the dense mass. The discreteness or the is-ness of the material partially lies within these grains. In my design process, collecting is to search for the set of conditions that will be encoded into the grain. The abstract grains dictate the transformation of the mass they were drawn on and inform the overall spatial logic. The term for “grain” in Chinese is 纹理 (wén lǐ). 纹 means “lines” or “veins”, 理 can be translated into “reason”, “truth”, “organizing”, or “sifting”. In a similar way, these drawings I have done in parallel to my thesis also attempted to search for space by sifting through a dense field of lines. Perhaps this is where the fifth collector dwells, within the deep grains of an abstract substance.
COLLECTIVE
CONCLUSION
96 – 97
things, in the collection’s perfect order? What if that object you long for is simply the object-cause of a more profound desire to achieve some thing that amounts to subjective oneness with your nonhuman environment?”
Index ASSIMILATION1 “With the automobile, for instance, it is possible to speak of ‘my brakes’, ‘my tail fins’, ‘my steering wheel’; or to say ‘I am braking’, ‘I am turning’ or ‘I am starting’. In short, all the car’s ‘organs’ and functions may be brought separately into relation with the person of the owner in the possessive mode. We are dealing here not with a process of personalization at the social level but with a process of a projective kind.” COLLECTING2 “What a man gets from objects is not a guarantee of life after death but the possibility, from the present moment onwards, of continually experiencing the unfolding of his existence in a controlled, cyclical mode, symbolically transcending a real existence the irreversibility of whose progression he is powerless to affect.” COLLECTOR3 “For what if the collector’s ambitions are in fact driven by some effort not to represent the self or to collect the self, but to dissolve the self into its nonhuman environment, to become an object, a thing among
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COLLECTOR4 “The collector is never an utterly hopeless fanatic, precisely because he collects objects that in some way always prevent him from regressing into the ultimate abstraction of a delusional state” DWELL5 “The nature of building is letting dwell. Building accomplishes its nature in the raising of locations by the joining of their spaces. Only if we are capable of dwelling, only then can we build.” DWELL6 “To dwell implies the establishment of a meaningful relationship between man and a given environment. In introduction we have suggested tht this relationship consists in an act of identification, that is, in a sense of belong to a certain place. Man, thus, finds himself when he setltlesI, and his being-in-the-world is thereby determined.” IMMATERIALITY7 “Digital design software, substituting for conventional architectural drafting, has unquestionably played a part in the continuing impoverishment of the built environment in our exploding universal megoloplois. Implicit in the software is an instrumental imperative that devalorizes the crafts that had formerly been involved in the translation of drawings and models to buildings. … The result is a wold designed for a technological way of life that curtails our sensorimotor skills, a flattened world that as a constitutive part of our consciousness enhances our sense of nihilism.”
at the center of the human condition: the quest to overcome our limitations in order to reunite the mortal with the divine. Those limitations, however, are precisely what give form and shape to our physical existence on Earth. Our bodies, our homes, our belief systems, our careers - they are all containers, and confronting the fundamental paradox of containment-transformation has been central to our narrative for millennia.”
OBJECT9 “Littré dictionary defines ‘object’ in one of its meanings as ‘anything which is the cause or subject of a passion; figuratively-and par excellence - the loved object.’” “Every object thus has two functions - to be put to use and to be possessed. The first involves the field of the world’s practical totalization by the subject, the second an abstract totalization of the subject undertaken by the subject himself outside the world. These two functions stand in inverse ratio to each other. At one extreme, the strictly practical object acquires a social status: this is the case with the machine. At the opposite extreme, the pure object, devoid of any function or completely abstracted from its use, takes on a strictly subjective status: it become part of a collection.”
NARRATIVE12 “When we speak with material, with things, we interrogate them with actions and listen with our thoughts. Narrative emerges from this conversation. A story arises in which we are but one character among others. The story gives voice to the inanimate, a voice mingled with our own, so much so that we can’t be sure of our own authorship. A scientist might look aghast at all this cross-contamination, but it is exactly what creatives fertile ground for the imagination. Narrative is a powerful way forward because it bridges unrelated events or things and turns the nonsensical into the knowable that addresses the “what”.”
THINGNESS10 “Producing a thing - affecting thingness- depends, instead, on a fetishitic overvaluation or misappropriation, on an irregular if not unreasonable reobjectification of the object that dislodges it from the circuits through which it is what it typically is. Thingness is precipitated as a kind of misuse value. By misuse value I mean to name the aspects of an object sensuous, aesthetic, semiotic - that become palpable, legible, audible when the object is experienced in whatever time it takes (in whatever time it is) for an object to become another thing.” TRANSCENDENCE11 “Ever since we have been able to tell a story, we have occupied ourselves with the one that lies
EMERGENCE8 “This is the core of aesthetic experience when properly understood, the capacity of “that
COLLECTIVE
which appears” to reveal a sense of purposefulness - be it the smiling face of a child, a poem about love by Sharon Olds, a calm sea, a glorious sunset behind the mountains, a poem about love by Sharon Olds, a calm sea, a glorious sunset behind the mountains, or an “unfinished” slave by Michelangelo. This is our proper encounter with beauty, truly a synonym of “meaning”.”
INDEX
98 – 99
Bibliography Bachelard, Gaston, M. Jolas, Mark Z. Danielewski, and Richard Kearney. The Poetics of Space. New York: Penguin Books, 2014. Bardt, Christopher. Material and Mind. Cambridge: MIT Press, 2019. Baudrillard, Jean. The System of Objects, 91–92. London: Verso, 2020. Brown, Bill. Other Things. Chicago: The University of Chicago Press, 2019. Calvino, Italo, and M. L. McLaughlin. Collection of Sand. Boston: Mariner Books, 2014. Goldberg, Myla. Bee Season: A Novel. New York: Anchor Books, 2005. GREENE, A. KENDRA. Museum of Whales You Will Never See: Travels among the Collectors of Iceland. S.l.: GRANTA BOOKS, 2021. Heidegger, Martin. Building, Dwelling, Thinking, 2000. Nayssan, Jay Ezra, ed. Technologies of the Self, Firsted. Beverly Hills, CA: Marc Selwyn Fine Art , 2021. Norberg-Schulz, Christian. The Concept of Dwelling: On the Way to a Figurative Architecture. New York: Electa/Rizzoli, 1993. Pérez-Gómez Alberto. Attunement: Architectural Meaning after the Crisis of Modern Science. Cambridge,
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Massachusetts ; London, England: The MIT Press, 2016. Woolf, Virginia, and Susan Dick. “Solid Objects.” Essay. In The Complete Shorter Fiction of Virginia Woolf. San Diego: Harcourt Brace Jovanovich, 1989.
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