Dwelling in Wanderlust: Architecture as a Vessel for Human Stories by Matthew Rusnac

DWELLING IN WANDERLUST

Architecture as a Vessel for Human Stories

DWELLING IN WANDERLUST Architecture as a Vessel for Human Stories by Matthew Rusnac

Thesis document submitted in partial fulfillment of the requirements for the degree of Master of Architecture at Portland State University Portland, Oregon June 2016

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PORTLAND STATE UNIVERSITY SCHOOL OF ARCHITECTURE COLLEGE OF THE ARTS The undersigned hereby certify that the Masters thesis of Matthew Rusnac has been approved as partial fulfillment of the requirements for the degree of Master of Architecture

Thesis Committee: Advisor Sergio Palleroni Professor of Architecture __________________________________ ________________ Date Committee Member Clive Knights Professor of Architecture, Director __________________________________ ________________ Date

Acknowledgements I thank my advisors Sergio Palleroni and Clive Knights for their unwavering encouragement, support, and sound guidance. I am grateful to my sister, Natasha, for listening to my abstract speculations and affirming my path in the midst of unceasing doubt and uncertainty. To my family, who endured my consistent lamentation, and my fellow classmates, who, through their hard work, encouraged me to strive harderâ&#x20AC;&#x2022;my gratitude and affection.

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CONTENTS Abstract 1 Thesis Question

Introduction: Architecture as a Vessel for Human Stories

I. Archetype Studies 11 II. Graphic Novellas

The The The The The The

30 40 52 60 68 78

Innocent Or phan Wanderer Warrior Altruist Magician

III. The Community

IV. Process & Reflection

107

V. Conclusion

153

VI. Appendices

157

Appendix A: Endnotes Appendix B: Bibliography

158 159

ABSTRACT My house is diaphanous, but it is not of glass. It is more of the nature of vapor. Its walls contract and expand as I desire. At times, I draw them close about me like protective armor ... But at others, I let the walls of my house blossom out in their own space, which is infinitely extensible. -Georges Spyridaki, Mort lucide

Humanity is diverse. Psychologists have been able to categorize the diversity of humanity into archetypes. Such psychologists include Carl Jung and, more recently, Carol Pearson, who have looked to mythology and story-telling to find stories and characters that repeat themselves in different cultures, regardless of time and location—albeit with idiosyncratic nuances. These archetypal stories and characters teach what it means to be a mortal living on the earth, beneath the sky, and in the face of the unknown. By melding such stories with the craft of architecture, one can arrive at an architecture that offers clues and wisdom as to what it means to be a human inhabiting the earth, and thus play an active and dynamic role in the lives of people as Spyridaki has poetically described. Such architecture recognizes the diversity of humanity and the diversity of individual story and thus affirms a sense of humanity, identity, and community which is desperately needed in an age of alienation, disorientation and isolation. Dwelling in Wanderlust recognizes that need and seeks to discover a design process that engenders an architecture in which one’s story can unfold graciously within. Pearson’s archetypes have been studied through diagrammatic, artefactual/sculptural, and spatial research. Finally, the archetypes became the inspiration for the design of a sixhome housing complex. The design of the six homes question the typical design standards of contemporary urban housing and suggest a way to design that is rooted in the diversity and timelessness of human character and relationship. Rooting architectural design in character has the potential to transcend the bounds of time and place and move beyond aesthetic trends and towards an architecture that affirms one’s sense of humanity, identity, and community.

THESIS QUESTION How can a story-driven architecture—confident in the cosmos—fortify a person’s sense of humanity, identity and community in an alienating, disorienting, and isolating age?

INTRODUCTION: ARCHITECTURE AS A VESSEL FOR HUMAN STORIES A successful dwelling gathers the phenomena of the cosmos and presents them in intimate ways, and thus become a microcosm analogous to the natural macrocosm where one can contemplate his or her being in the world. Martin Heidegger wrote of the Black Forest farmhouse, “Here the self-sufficiency of the power to let earth and sky, divinities and mortals enter in simple oneness into things ordered the house.”1 For Heidegger, genuine dwelling is a gathering of the basic elements of the cosmos: earth, sky, mortals and divinities. Acknowledgement of the stable yet elusive earth below, the expanse of sky above, our mortality and the nearly silent call of divinity presupposes successful dwelling. The most problematic yet profound component of Heidegger’s fourfold, especially to modern ears living in the shadow of Nietzsche’s claim that “God is dead”2 is his insistence that genuine dwelling calls for the awaiting of the divine as the divine. Such insistence invites rejection of idol worship and a delicate hope in that which is nearly silent and invisible.3 If architecture were to follow Heidegger’s insistence, an architecture of simple precariousness is inevitable; one grounded in the hope of divinity’s arrival. Such an architecture is free from the need to solve the unsolvable, transcendental homelessness of humanity and so allow for genuine dwelling. In an age marked by modernity’s objectification of the world and blind consumerism fed by the idol worship of material wealth, urban homes are often built only as shelters for material possessions while neglecting to gather the fourfold and provide proper refuge for the human soul. A precarious, simple architecture that labors to preserve a sense of humanity and community through a gathering and preserving of the earth, sky, mortals, and divinities is desperately needed in an age the alienates, disorients, and isolates.

Introduction

Alberto Pérez-Gómez offers his diagnosis of the contemporary built environment: “City planners prevailed over architects and urban designers, adopting the values of engineers in the service of political power and economic expediency, reason, utility, and efficiency became the determinants of a physical environment that progressively became more sanitized…”4 The contemporary environment alienates as it does not acknowledge the messiness and drama of humanity. The “sanitized” environment that Pérez-Gómez speaks of offers mere shelter and comfort to the human body but does not resonate with the delicate hopes and dreams of humanity. Modern living, especially in America, is tainted with a loss of place and disorientation. The American ideals of freedom and chasing phantom-like ambitions has resulted in a way of living that is rootless and insists on compulsive wandering, leading ultimately to isolation. The built environment reflects this ethos; the chaotic cities and crisscrossing highways of many American cities lack any sense of place or center.5 At a finer scale, the contemporary urban home, small and homogeneous, is more of a commodity than a place to dwell which one can easily exchange for another at a whim. The rise of the autonomous subject and the decline of the vitality of the social body has also led to, as described by Pérez-Gómez, an “insidious crisis of participation for modern humans: a potential alienation from the worlds of nature and culture resulting in a sense of purposelessness…”6 According to Pérez-Gómez, the free individual, responsible to no other but the self, finds it ever more difficult to participate in community and find genuine purpose.

Phenomenal Temporality In a concluding paragraph of Building, Dwelling Thinking, Martin Heidegger states profoundly, “The proper dwelling plight lies in this, that mortals ever search anew for the essence of dwelling, that they must ever learn to dwell.” Heidegger’s thoughts allude to a state of flux in which humanity finds itself. Art that includes a time-component speaks to the temporality of humanity; art such as cinema, literature, story-telling, and music. Such art conveys ideas in bits and pieces until a viewer arrives at a full understanding. John Hejduk’s enigmatic Masques are one example that bridges the gap between storytelling and architecture. His work is similar to an adventure story that a viewer can wander at his or her own pace and slowly come to understand the story conveyed.8 The method in which Hejduk conveys the stories is reminiscent to human memory: fragments come together and challenge the viewer with the task to make sense of them. Very much like Hejduk’s Masques, an individual’s memories constitute their being, their story. New events add to and change the story of a person’s life. Humanity is in a state of incompleteness, always changing, adapting, and growing and architecture, an often quite permanent phenomenon, ought to acknowledge this temporal dimension of humanity and follow the notion that humanity “must ever learn to dwell.” Alberto Pérez-Gómez states, “Giving place to such presence in the events it frames has been architecture’s well-documented accomplishment throughout history, as it has been poetry’s, allowing humans to perceive meaningfulness in the coincidence of opposites: being and non-being, life and death, reconciled beyond theological

dogma.”9 Humanity exists between past and future and architecture, as Pérez-Gómez argues, has the ability to “give place” to the phenomenon and allow humanity to find meaning in the present moment. Being in the present presupposes an acceptance of past and the future, or the unknown and resonates with Heidegger’s insistence on awaiting the divinities with such acceptance. The Novel The novel, and other narrative forms such as film, have seen remarkable popularity during the last two centuries. PérezGómez states, “Literature’s capacity to communicate a poetic image is closely associated with spiritual experience…”10 Perhapst the popularity of the novel may be associated with humanity’s spiritual search for meaning in life. In an age of isolation, it could be argued that the novel has become one avenue for a person to engage with another, or, if the novel resonates with a large group of people, many others. The novel has become, according to Hans-Georg Gadamer, a method in which the fundamental questions of humanity are articulated.11 Through narrative form such questions are revealed to individuals intuitively. In many cultures and religions, essential truths are passed from generation to generation through narratives such as parables or fables. Often, everyday stories are used as metaphors to convey such truth and so resonate with all people in an effective way. With the novel as a precedent, can architecture find a place of meaning in an era marked by an alienating and isolating built environment? The great novels resonate with humanity in a timeless way, evoking fundamental ideas as to Introduction

what it means to be a mortal dwelling on the earth. Joseph Campbell, a scholar in mythology, has expounded on the power of myth and the patterns they follow. He is known for the concept of monomyth, the theory that all mythic narratives are variations of a single, great story that is shared by humanity. The concept is based on the observation that there are consistent patterns common to most great myths regardless of time, culture, or origin. The single story takes on nuances relative to local culture and time in order to remain an effective carrier of meaning. Campbell also argues that metaphors are statements that help humanity to make effable the ineffable. The central pattern as posited by Campbell is often referred to as the hero’s journey. The journey is the story of a person who is called to depart from the day-to-day, undergo an adventure of trials and suffering and return with a transcendent gift to transform the hero’s place of origin. The great myths, according to Campbell, contain the metaphors necessary to express spiritual truths.12 Can one thus look to the patterns in great narratives as a source of truth from which a meaningful architecture could be built upon?

Archetypes Psychologists Carol S. Pearson, Ph.D. and Hugh Marr, Ph.D., have developed a set of archetypes that are designed to guide individuals through life situations in a narrative-based, intuitive manner. The archetypes inspired the Pearson-Marr Archetype Indicator (PMAI), a self-test psychological personality inventory published by the Center for Applications of Psychological Type (CAPT) as a counterpart to the popular Myers-Briggs

Introduction

Type Indicator (MBTI). The PMAI differs from the MBTI in that the archetype a person identifies with will change over time. The MBTI, on the other hand, describes behavioral preferences that stay relatively the same throughout a person’s life.13 Furthermore, the archetypes are developed on the concepts of personality types and archetypes as posited by the well-known psychiatrist, C. G. Jung, as well as the work of Joseph Campbell, and carry a story-like, poetic quality. They come with telling names: the Innocent, The Orphan, the Wanderer, the Warrior, the Altruist and the Magician.14 The CAPT states: the PMAI, “opens a window into the patterns of our unconscious stories and provides a path to self-understanding.” The archetypes bring Campbell’s concept of the monomyth to the level of everyday life. Through the archetypes, a person can find their place in the great narrative. Each archetype speaks to a different archetypal phase or situation in the life of a person. An individual can experience the archetypes all in one day or over the span of years. The applicability and scalability of the archetypes is immense. The archetypes illustrate a state of growth in a person and resonate with the earlier discussion on the idea of human incompleteness. The archetypes, all in one form, convey dynamic characters who are complete in one sense but incomplete in another. The archetypes are temporal; within them there is a process. Specifically, in Pearson’s set, a learning process. The archetypes, through their incompleteness and temporal nature, offer a depth of material from which a meaningful architecture could emerge. The archetypes provide a framework that one can utilize as a way to acknowledge the dynamism and drama of humanity. The six archetypes embody a different set of desires

and dreams that each human feels at some point in life. For example, the Orphan archetype represents a person who has experienced loss and been orphaned in some way. The archetype is general enough that it would include, but is not limited to an individual who has lost his or her parents, someone who has lost a relationship, or someone who has lost a job. Such an individual, in that situation, is learning to cope with deprivation. In the process, he or she has the potential to learn empathy and realism. The archetype is general enough to resonate with a diversity of situations but also specific enough to become the inspiration for a meaningful architecture. These archetypes can offer cues for an architectural designer to design in such a way that empathizes with an orphaned person, for example, and illuminate such a situation and thus begin to speak to what it means to be human. Through melding the language of architecture with the archetypes, which carry poetic images of life situations, designers can potentially create meaningful dwellings that can encourage a sense of humanity, identity and community. Community Humans are embodied; the environment in which they find themselves heavily influence the mind and body. Individuals have identity through others and the environment around them; Pérez-Gómez states, “…we know ourselves through the other, in embodied communication, situated through architecture and urban space.”15 Pearson’s archetypes are also dependent on one another. The archetypes mainly instruct others in self-growth but Pearson also often notes their interconnectedness: they illustrate the stages of a journey. The

archetypes grow through communion with one another. One’s individual identity is inextricably linked to one’s communal identity; the archetypes help to affirm an individual’s identity but such identity is always linked to community. For example: Who would the Altruist care for if there was no Orphan? How would the Orphan become an orphan without a loved one to be orphaned from? Who would the warrior fight for if there was no other? Through utilizing the archetypes, one can innately learn about community. The archetypes have unique relationships to one another and can aid designers when it comes to designing the relationships between homes. The relationship between homes—apartments or condominiums—in contemporary housing is often characterized by a side-by-side approach with the housing units connected by a narrow, shared corridor. As a way to address communal needs, designers often include larger, communal spaces of varying sizes. However, the relationship of the units themselves remain the same: side-byside. Often neglected are the connections between the units above and below. Looking to the archetypes, one can begin to design meaningful relationships between homes. A designer can ask the question, for example: Would it be wise to place an orphaned individual next to an innocent type whose naïve optimism may annoy the other? Pearson offers an example of how the Wanderer archetype may affect an Orphan: “The nice thing about Wanderers taking their journey is that it has a ripple effect, allowing loved ones and colleagues to take theirs as well.”16 At the very least, the archetypes can help designers to design in a thoughtful and empathic way as opposed to simply defaulting to current trends and efficiencies. Pearson states, “Archetypal recognition can help you better understand others

Introduction

and how they see the world.”17 Designing from the archetypes can help one to critically consider the unique individual’s needs and desires in relationship to community and apply those to design efforts. Conclusion This search for a meaningful architecture began with a desire for a revitalization of community. Community was once bound together by spiritual beliefs which architecture once gave place to in the Gothic cathedrals or ancient temples of the past, for example.18 Karsten Harries’ discussion on nostalgia and the dangers of chasing after the past in his article “The Two Faces of Nostalgia” urges one away from the pursuit to revitalize traditions. Instead, he suggests that consideration of the past can project humanity forward.19 Thus, the search turned towards the present and the future: to the contemporary, lonely individual who, in our modern era, often lacks any center or sense of purpose.20 The archetypes reveal the story of such a character, perhaps an Orphan, who has lost, in Nietzsche’s words, God. Kyle Dugdale, Acting Director of MED Studies at Yale School of Architecture, argues, “As a discipline architecture has failed to confront the death of God…”21 He argues that the discipline of architecture is in a state of amnesia caused by the trauma of Nietzsche’s claim. The Orphan archetype resonates with contemporary architectural discourse and perhaps can offer clues to the profession itself in how to move forward. The archetypes offer wisdom as to how humanity can learn from a present situation and move onward. Pearson notes profoundly, “Understanding the archetypal basis for the ways

Introduction

in which people see the world can […] help you see beyond the unconscious bias scholars and journalists often bring to their work.” The archetypes can help one to transcend the contemporary zeitgeist and design with a critical eye towards current fashions and trends. Perhaps architecture’s current dilemma is existing in a state of denial as a result of being orphaned from tradition. Now, architecture is wandering, seeking to find its place in the world, or perhaps still running from the need to confront the “death of God.”22 With the novel as an analogue and the archetypes as a framework, is it possible to design an architecture that empathically resonates with an individual and reveals timeless truth, devoid of fleeting trends, as to what it means to be a mortal dwelling on the earth? And so urge them to live in the present moment? Every individual is writing a unique story for his or her life; humanity is diverse. However, the archetypes and stories reveal commonalities; they all share similar struggles and successes. By melding such stories and characters with the craft of architecture, an architecture that offers clues and wisdom as to what it means to be human may emerge and play an active and dynamic role in the lives of people. Such architecture recognizes human diversity and the diversity of individual story and can potentially affirm a sense of humanity, identity, and community which is needed in an age that alienates, disorients, and isolates. A way of designing that is rooted in the diversity and timelessness of human character and relationship. Pérez-Gómez argues, “Beyond stylistic preferences, fashion, generative geometries, and formal predilections, architecture’s calling is to represent such space to humanity: one attuned to our worldly actions and habits yet emotionally resonant, open to uncertainty and external forces, one where Stimmung may

become manifest as ‘the scattering of a quake of being as an event in Dasein.’”23 A meaningful architecture in the contemporary era is a vessel that can bear the unique stories of individuals and the precarious relationships they share across the tumultuous sea that is the modern world.

Introduction

I THE ARCHETYPES

The Archetypes

CHARACTER STUDIES Opposite: An image of the final exhibition highlighting the archetype portraits, diagrams, and novellas.

Transpositions An artefactual and diagrammatic study of Dr. Carol S. Pearson’s six archetypes, found in her book titled The Hero Within, is illustrated on the following pages. The archetypes consist of: the Innocent, the Orphan, the Wanderer, the Warrior, the Altruist, and the Magician. The study began with the creation of a narrative diagram for each archetype. The diagrams are a visualization of an imaginary interview with each archetype concerning Heidegger’s notion of the fourfold: the earth, sky, mortals, and divinities. The author, who took cues from Pearson’s book, imagined how each archetype would respond if asked about each component of the fourfold. The diagrams also illustrate an order of priorities and highlight the most significant component of the fourfold in respect to each archetype. Through linking Heidegger’s criterion for genuine dwelling to the archetypes, the diagrams became the first step in transposing Pearson’s archetypes into an architectural intervention. Inspired by the artist Joseph Cornell, the second step consisted of the creation of six framed assemblages, one for each archetype. Each assemblage explores ideas of material, texture, smell, color, form and symbol as they relate to each archetype. The assemblages are meant to be a second means of transposition towards architecture, this time exploring how the archetypes can influence the creation of a three-dimensional, sensual artifact. The Archetypes The Innocent is a character marked by optimism and trust but at the same time can be seen as naïve and self-centered. The mature innocent is one who has experienced loss, betrayal, or tragedy but has resolved to stay hopeful.

The Orphan is an Innocent who has experienced a “fortunate fall” or a tragedy that disillusions the Innocent’s optimistic view of the world. Through the experience, the Orphan learns empathy, realism, and how to live with a balance of wariness and hope. The Wanderer is one who realizes that he or she is suffering in their current situation and needs things to change. That individual will take leave of that situation, whether it’s a job that they have been at for a long time, or a young adult leaving home for the first time. The wanderer archetype is about exploration in an effort to find one’s true identity. The Warrior archetype is about learning to stand one’s ground. Once one learns who she truly is, she must fight to maintain those values. Often, cultural trends conflict with personal values and when that conflict arises, the Warrior is one who stands her ground. The mature Warrior is someone who understands that the battle is not dualistic; the hero/ victim/villain scheme is an illusion and there are deeper, more transcendent issues at the core that must be fought. The Altruist archetype is about learning how to be truly generous. There are shadows forms of generosity which show themselves, for example, in individuals who use their own sacrifice as a way to manipulate others. The Altruist teaches selflessness and what it means to give and keep the big picture in mind. The sixth archetype, the Magician, is one who has learned the ability to transform situations for the better; one who has discovered a purpose for their life and begins to stick with it. As a result, fortunate coincidences begin to take place and a path reveals itself to them. It is someone who understands that their life and their decisions can make a difference in the world and so they choose to live intentionally.

The Archetypes

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The Archetypes 15

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17 The Archetypes

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19 The Archetypes

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The Archetypes 21

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25 The Archetypes

II GRAPHIC NOVELLAS

THE NOVELLA Opposite: An image of Altruist’s novella.

The form of an illustrated novella was chosen as a way to convey the design of each the six homes in an accessible and intuitive way. The novellas offer an individual and personal perspective into the interior of the homes and are intended to be a method in which architecture can break free of its formal systems of representation and made readily accessible to all people. Text of varying types corresponding to the nature of the different characters accompanies watercolor paintings. The writing types include poetry for the Innocent, journal entries for the Orphan, letters for the Wanderer, narratives for the Warrior, unsaid words to another for the Altruist, and songs for the Magician. The various forms of writing are designed to engage viewers on a poetic and emotional level as opposed to the objective descriptions that architecture is often subject to. The novellas also require participation on the viewer’s part. One must discover the architecture of the homes through engaging with each of the books. Similar to John Hejduk’s Masques, a holistic view is withheld. The viewer must step up to a podium, pick up a book, and open it to see the architecture of the homes. This interaction also evokes a level of intimacy and privacy. Unless another is peering over the shoulder of the viewer (an uncomfortable situation), the viewer is free to explore the architecture and the storied lives of the characters privately. The novellas are meant to be an accessible means of expressing the design intent of each home in a story-like and intuitive manner. The novellas also cause one to operate in the realm of memory. The images and text are hidden away in the books and can only be experienced one at a time leaving the viewer with the task of connecting each image through memory. The understanding of the homes are therefore beholden to the subjectivity of the viewer’s memory. Thus, resulting in unique and potentially biased readings of each home. The experience is concealed. Very much like the unique people one meets dayto-day, little is given outright.

Imogen the Innocent

Imogen A derivative of “Innogen,” a name of Gaelic origin meaning “maiden.”

Music light and airy melodies so soft awake in me the flutter of doves and free me to feel like a cool mountain stream emotion running through my body

Imogen the Innocent

The Altruist’s House

Open

Sharing

Up To the Innocent’s House

The Magician’s House

First Floor Plan

at 1/8” = 1’-0”

Imogen the Innocent

Nests mother bird gathered twigs and tufts of fur together, leftovers tacked to cover warm and textured structure light peeling through the gaps baby bird unfolded through shell and sticky feathers joined, burst of pink to announce soft and tiny skeleton beak searching through the air

Imogen the Innocent

Munching

Dancing

The Magician’s House

Second Floor Plan

at 1/8” = 1’-0”

Imogen the Innocent

Keeping

Dreaming

Open

Third Floor Plan at 1/8” = 1’-0”

Imogen the Innocent

Dancing Swaying branches in a calm spring wind Cause a dance to grow within me As a mountain spring bursts from nothing I’m called to set it free I mimic but they laugh at me And I laugh as well and say, “I am human, not a tree!” They understand and nod in jest “Do not try to mimic, just be.” So I continue to dance Trying my best to set it free

Imogen the Innocent

Dreams like living water, I live from dreams of the past, about the future dreams of home so warm like the first day of spring eternal

Imogen the Innocent

Mallory the Or phan

Mallory Derived from the Old French Maloret meaning “the unfortunate one” or “the unlucky one.”

The Watch When I was in elementary school, at the age of seven, I was given a watch. I was fascinated with it and wore it day and night. One day, during recess, a classmate asked to see it. I trustingly took it off and let him take a look. It turned out that he did not care about the watch at all. Instead of examining it in awe as I often did, he tossed it to his friend who tossed it to another classmate and then back. This went on for a bit as I stood in terror. Eventually, one of them failed to catch it and it fell to the pavement and broke. I was devastated. I picked up the pieces and later showed them to my teacher and asked if she could fix it. She couldn’t, so she placed the pieces in an envelope for me to take home. My parents couldn’t fix it either so I put it away. It has been ten years and I still have the watch in my shoebox of keepsakes. I don’t know why I’ve kept it so long.

Mallory the Or phan

To Division St. The Warrior’s House

Arriving

Hesitating

Eating

To Courtyard

Up Dn

First Floor Plan

at 1/8” = 1’-0”

Mallory the Or phan

Slow Stair I have a hard time learning to trust people. As a result, I often keep to myself. Recently, I realized that Iâ&#x20AC;&#x2122;m missing out on a lot by doing so. Meira and I were talking the other day and I gave her very vague answers to the honest and caring questions she had. Iâ&#x20AC;&#x2122;ve been feeling quite lonely recently: a new friend of mine decided to move across the country which has hindered what I thought was a promising relationship. And, instead of opening up and telling Meira about it, I put up a wall and told her I was doing just fine and that things were great. Now, I feel lonelier than ever and I did it to myself. Maybe there are people who care? After so many disappointments, the climb back to trust and hope seems so long and slow.

Mallory the Or phan

The Warrior’s House

Hiding

Washing

Keeping

Writing Dn

Second Floor Plan

at 1/8” = 1’-0”

Mallory the Or phan

Laid to Rest I drove a long way to pick you up. We had been on mind for months; my regrets grew and mistakes kept coming to mind. I felt like you were waiting for me, so I decided to find out if it was true. I could no longer live in my own mind, my own made-up world. So I called you. My heart flinched when I saw you; it had been months. On the drive we talked of old times and I asked if you were waiting. Your answer was “no.” My heart and mind felt a sorrowful ease; one could even use the phrase, “put to death.” On the lonely drive home I wept tears of joy and sorrow. I was able to lay us to rest.

Mallory the Or phan

Ablution Years ago, I use to live close to the river, I would walk to it whenever I felt ill at ease or lonely. When I would do so I felt as though I was able to focus more clearly, especially at night. The immense body of water in the darkness seemed to be alive and amiable. I think it preferred oneon-one conversations; during the day, with folks milling about, it didnâ&#x20AC;&#x2122;t seem like it wanted to talk. At night, I could go to it in my loneliness and vent my feelings and I would feel heard. Mallory the Or phan

Saying Goodbye I sometimes wrestle with saying goodbye at parties but my tendency is to slip out unnoticed. Last night, Meira had invited usâ&#x20AC;&#x201D;that is, everyone who lives in our complexâ&#x20AC;&#x201D;to a meal from which I left without saying goodbye to everyone (except Rainer, only because he was close when I decided to leave). I was thinking about how I felt afterwards: quite lousy. I asked myself: Why do I do that? I got to thinking and wondered if I was denying the little death of our cordial, communal meal. By leaving without a goodbye, was I pretending that the meal never ended? And, in a subtle way, denying a loss?

Mallory the Or phan

Close I found that I have a hard time opening up in large groups. It is the small groups, either one-on-one or in a group of three where I feel comfortable. The environment also needs to be right. Iâ&#x20AC;&#x2122;m on edge in open, loud spaces. I need closeness and safety. Mallory the Or phan

Reflecting Pool

Basement Floor Plan at 1/8” = 1’-0”

Mallory the Or phan

That Was Then, This is Now I was looking for something in my shoebox of keepsakes but forgot what I was searching for when I found my broken watch. I looked at it and shook my head. What is wrong with me? Why have I kept this cheap, plastic, broken watch for so long? I relived the moment when it broke and began to understand. In a way, I think Iâ&#x20AC;&#x2122;m waiting for someone to come beside me, put their arm around me, and hand me the watch, fixed and new. Am I still waiting? I realized it was not the watch that needed to be fixed so I finally threw it away.

Mallory the Or phan

Perry the Wanderer

Perry A diminutive of â&#x20AC;&#x153;Peregrineâ&#x20AC;? which means foreigner, stranger, pilgrim, traveler or wanderer.

On Ships Dear Mom, I’m smitten with the idea of a home that moved from place to place. It would make for such an adventure: each morning I could wake up in a new country with unfamiliar trees, people, and things! I don’t think I would grow tired of it. I’m so sorry I left without notice... I think it was for the best. I hope you will understand. I will write you often, so please don’t worry! I will be back one day and we’ll be together again, and it will be even better than before. with love, Your Daughter, Perry

P e r r y t h e Wa n d e r e r

To SE Division Dn

Spying

Up Washing

Eating

First Floor Plan

at 1/8” = 1’-0”

P e r r y t h e Wa n d e r e r

Lookout Mum, In my lofty lookout tower I keep an eye on where Iâ&#x20AC;&#x2122;m at. I think I will arrive soon. I have come a long way but have not seen stable ground in some time. Nostalgia grips my heart every now and then and my thoughts turn to home; filling me with a terrible longing. I miss you all so much. Yet, I know I can not turn back, not yet. I must continue on. I will return soon, though. I promise. yours, P.

P e r r y t h e Wa n d e r e r

Running I’ve been thinking about my last love. I still try to figure out why it didn’t work and why I left the relationship. I’m afraid it was simply the familiarity: a love grown stale and tired. But, as I think about it more, I’m realizing it may have been for the best. Maybe I didn’t really know who I was then? And inside, my true self was being oppressed!? It is hard to know these things; life is confusing. Talk to you soon. with love, P. P e r r y t h e Wa n d e r e r

Up Rest

Document (Photo Studio)

Open Dn

Observation

Second Floor Plan at 1/8” = 1’-0”

P e r r y t h e Wa n d e r e r

Freedom Mum, I was thinking about when I was young and how I dreamed of traveling among the stars. I wanted to be an astronaut. I think it was the freedom that attracted me. I could be free up there; I could move in all directions. I remember playing in swimming pools as if I were in space. Thanks for taking me. I spun this way and that, thrilled by the loosened grip of gravity and the expanded freedom of movement. Have you ever imagined what it would be like? with love from outer space, Peregrine the Astronaut

P e r r y t h e Wa n d e r e r

Rainer the War rior

Rainer A derivative of the German name “Raginheri,” meaning “wise warrior.”

Protecting Mallory, our melancholy neighbor, lives behind me. I always try to get to know him but he often seems disinterested and even annoyed at times. He is quite a challenge and it really frustrates me. However, I was watering my bamboo when he got back from work and we got to talking; he seemed a bit more jovial than usual. After he left, I couldnâ&#x20AC;&#x2122;t help but smile and reminded myself to be patient and persevere with him.

R a i n e r t h e Wa r r i o r

For Another It looked like Perry was crying. So I decided to make sure she was doing alright. It turns out that her current love interest was not so loyal and had been cheating on her. They had an ugly break up. In an effort to comfort her— which I’m not so good at—I told her I would beat him up the next time I saw him. She laughed. R a i n e r t h e Wa r r i o r

Focus I keep an eye out for the vulnerable and lonely. My art is for them. I was once the same way but have since learned to take care of myself and to fight for myself. I donâ&#x20AC;&#x2122;t want them to get hurt as I did so I do my best to watch out for them. The world is a cruel and dangerous place.

R a i n e r t h e Wa r r i o r

To SE Division

Arriving

Conversing Protecting

Planning

Eating

Washing Fighting (Art Studio)

The Orphan’s House

The Altruist’s House

To Courtyard

First Floor Plan

at 1/8” = 1’-0”

R a i n e r t h e Wa r r i o r

Humility I hurled one of my sculptures in frustration. It shattered against the wall and the head ricocheted back at me, punching me in the gut and landing at my feet. I didnâ&#x20AC;&#x2122;t know it could fight back. I looked down at the distorted face and saw that the smile had now become a pitiable frown. My frustration and pride immediately bid farewell with a mocking laugh and I gazed with sadness at the broken head. I picked it up tenderly as if it were a small animal and set it on my work bench. Defeated and horrified at myself, I apologized to the head and decided to take a break.

R a i n e r t h e Wa r r i o r

Watching Dn Watching

Retreating

The Altruist’s House Washing Fighting

The Orphan’s House

Second Floor Plan

at 1/8” = 1’-0”

R a i n e r t h e Wa r r i o r

Meira the Altruist

Meira A name of Hebrew origin meaning “one who illuminates” or “giving light.”

Threefold Rope Don’t say that you are giving up. If you find that your ship has run aground, call me and I’ll be there. I’m here for you and I know things will turn around; they always do. Please know that you are loved and stay steadfast. You are brave and if we stick together, the weight of the world won’t pull us under. A three-fold rope is hard to break.

Meira the Altruist

To SE Division Cooking

Gathering

Welcoming Conversing

Up Conversing

To SE 23rd

Breaking Bread The Warrior’s House

Gathering The Magician’s House To Courtyard

First Floor Plan

at 1/8” = 1’-0”

Meira the Altruist

Joy and Grief One of my favorite things is to cook a meal for you all. Sharing a meal at least twice a month has grown into a little tradition. The sight of each of your chairs reminds me of all of you and our conversations that often run late into the night. The scene fills me with a sense of joy mingled with sadness.

Meira the Altruist

Tapestr y We talked late into the night. The fire seemed to keep us together far beyond our usual bedtimes and drew out intimate thoughts from deep within our hearts. We laid them before us and wove them together. Soon enough, a beautiful tapestry was made. Meira the Altruist

Undoing A quarrel broke out at the table today between you and Mallory. I attempted to mediate but when I did so, you turned on me and made a vicious comment. My heart was shattered and I felt helpless. I knew you did not mean it but it was then that I was reminded of our brokenness. This had gone so well until then. I should have expected something like this. Yet, I was undone. I couldnâ&#x20AC;&#x2122;t control the tears that began to well up in my eyes. I got up and asked Imogen in a shaky voice to accompany me; I didnâ&#x20AC;&#x2122;t want her to be the victim of your anger-induced insults. We left the dining room and went outside. I wept and told her that I only want to gather you both up as a hen gathers her chicks; I did not expect you to bite.

Meira the Altruist

The Wanderer’s House

Retreat

The Warrior’s House

One-on-One

Retreat Gathering

The Magician’s House

Open Open

Gathering

Second Floor Plan

at 1/8” = 1’-0”

Meira the Altruist

Retreat After the argument, I realized I needed to retreat for a bit. Sometimes, I need to be alone and remind myself of the big picture. There are often little quakes that can throw us off and confuse us. A little time alone caring for myself helps me to better care for others. Meira the Altruist

Finn the Magician

Finnegan From the Irish name â&#x20AC;&#x153;Fionn.â&#x20AC;? Fionn mac Cumhail was a Irish hero who became all-wise from eating an enchanted salmon.

Heavens I am drawn to what is beyond stretched to comprehend Up above and down below Is the best my mind can do only to break into vapor thin to trust, my mind fell that after, all will be well that this life is only vapor thin

Finn the Magician

The Altruist’s Cafe

Dn Reflecting Pool

Welcoming Up

To Courtyard Eating To SE 23rd

First Floor Plan

at 1/8” = 1’-0”

Finn the Magician

Tact Imogen had requested that I come up with a little tune for her dance. I was strumming in the courtyard while she danced. “I was inspired by the swaying of branches in the wind! What do you think?” She asked. “I like it; I can see how you were inspired.” I replied. She blushed, smiled, and requested, “Okay, one more time?” I nodded and began strumming again. Just then Mallory stepped outside with a cigarette in hand. When Imogen had finished her dance she asked Mallory if he wanted to join. He quickly declined so I sang a song for him instead. It was a silly song and went something like this: A young man once declined to dance He chose his cigarette instead of romance? Which he hides behind like a suit of armor So all we see is a helmet and visor But one day he’ll set it aside, I’m sure And accept the dance without fear I embarrassed them both but I knew it lightened Mallory’s heart.

Finn the Magician

The Wanderer’s House The Altruist’s House

Making Music

Dn To Courtyard Making Music

Open Ruminating

To SE 23rd

Up Dn

Contemplating

Second Floor Plan

at 1/8” = 1’-0”

Finn the Magician

Metaphor The weight of the keys Like a hug from an old friend The warm hum of the low tones Bring me back home The middle keys Remind me of your voice and the soft patter of rain They lead me to memories long forgotten The high notes, like birds Speak clearly and soar They are a child singing, so pure They all lead me to consider This piano, here It is not wood and metal but a hug, a home, a voice, the rain, memories, birds, and a child singing

Finn the Magician

Open Dn Dreaming Open

To SE 23rd

Third Floor Plan

at 1/8” = 1’-0”

Finn the Magician

On Sleep Enveloped by nightâ&#x20AC;&#x2122;s quiet caress I rest in the peace of purpose In the guarding light of the moon And the watchful eyes of the stars Awaiting the arrival of the warrior sun Finn the Magician

Open

Meditating

Fourth Floor Plan at 1/8” = 1’-0”

Finn the Magician

Child Here I ruminate, will this, too, get old? or will you ever surprise me? alighting wonder day after day upon my weary head making me a child again Finn the Magician

III

The Community

THE COMMUNITY The design of the housing complex began with the character and moved outwards. Each home influenced another and pushed and pulled the other as they grew into their final forms. The housing complex is set in SE Portland on a currently empty lot on SE Division St. and 23rd Ave. The Wanderer is a linear, elevated space. The Magician’s home is tower-like, focusing on the vertical dimension. The Innocent’s house is a nest-like home that is light and fragile, resting on top of the Altruist’s home. The Altruist is at the center and is somewhat formless as the house fills the spaces between the others. The Warrior’s house is two-part: one is long and thin representing action and forcing its way between the other homes; and the other is cube-shaped, representing protection and respectful assimilation. The Warrior’s home protects the Orphan’s, which is set in the back corner. It is made of stone and concrete that is characterized by a fissure that splits the homes functions. The homes appear like corralled figures, sometimes harmonious and at other times, awkward, echoing the irrational and spontaneous nature of human life and relationship. Each home plays a unique role and the conglomeration becomes a metaphor for the mind of an individual. The roles depend on one another and encourage a sense of identity and purpose. For example, the Altruist and her home become the catalysts for community and unity. Each play an active role in unifying the community and giving place for ritual. The Warrior works closely with the Altruist in solidifying and defending communal values. The Orphan brings a sense of empathy and realism to the homes. The Wanderer brings new ideas and ways of living to be tested and experienced by the others. The Magician brings transformation when ruts are created and the Innocent offers hope in an otherwise often bleak world. Each character brings his or her own unique talents and abilities to encourage a balanced way of living. The unique homes give place to each character in which they can flourish and grow into their roles.

The Community

Opposite: A watercolor axonometric of the final complex of six homes. The Magician’s house is a tower-like structure located on the far left corner. The Wanderer’s house is located just below, on the street corner. The Innocent’s house is set to the right of the Magician’s atop the vegetated roof of the house of the Altruist, which is located in the center of the complex. Adjacent to the right side of Altruist’s house is the two-part house of the Warrior. In the far upper right corner rests the house of the Orphan.

The Community

Opposite: A watercolor section drawing illustrates the side-by-side and above/below relationships of the homes. Above: Novella illustrations that can be located in the section on the opposite page.

The Community

Opposite: A watercolor section drawing illustrates the side-by-side and above/below relationships of the homes. Above: Novella illustrations that can be located in the section on the opposite page.

The Community

Play and Imagination The model constructed for the project was designed to be the main carrier of ideas on community. The scale and the way in which it was built are also meant to evoke a sense of play and imagination. Approaching the scale of a dollhouse, the model invites exploration and imagined stories. Doors within the model also allow viewers to peek into the interiors of the homes and bridge the division between the world of the miniature and the world of the life-size. The role of the model was also to give place to the events that occur in the novellas. One is encouraged to have a novella in hand while exploring the model and construct the in-between stories with her or his own imagination.

Left: A photograph of the model in the exhibition space. Opposite: A photograph of the north elevation of the model focused on the houses of the Wanderer, the Altruist, and the Warrior. 98

The Community

Above: A photo of the small courtyard outside the Altruist’s house and below the Innocent’s. Above right: An overall photo of the south elevation of the homes. Opposite left: A photo of the interior of the Wanderer’s house. Opposite right: A close-up photo of the north elevation of the Altruist’s house. The photo also highlights the Wanderer’s hosue and the house of the Innocent in the background.

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Opposite: A photo of the north elevation of the model highlighting the Warriorâ&#x20AC;&#x2122;s red and grey house. Above: A series of photos depicting an operable door within the model. It allows viewers to interact with the model and see the interior of the Warriorâ&#x20AC;&#x2122;s house.

The Community

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Above: A photo of the interior of the Warrior’s house, which is only viewable through an operable door. Above right: A photo of the interior of the Magician’s house. Opposite left: A photo of the interior of the Orphan’s house, which is only viewable through an operable door. Opposite right: A view of the interior of the Orphan’s house.

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REFLECTION

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THE PROCESS The process throughout Dwelling in Wanderlust, until the very end, was experimental. It began with a desire to pursue the craft of the hand and included the creation of assemblages resembling the art of Joseph Cornell, watercolor paintings, plaster carving, plastilina clay modeling and pastel drawings. The experimental design process, especially the watercolor illustrations, resembled storyboarding, a process often used by filmmakers and animators. The idea behind the storyboard mentality was to explore how the actual design process could influence the product and create an architecture that is merged with a story-like quality. The process maintained a ground-up mentality and became the design of several individual stories, one for each archetype. Through storyboarding specific yet disparate moments of an individual in a built environment and then merging the events, a complete story or architecture was created. The process could be characterized as designing analogous to how one would experience the architecture: from moment to moment and never in a holistic, omniscient way. Additionally, the desire to find a design process that included hand making was important and driven by a found dissatisfaction with the overly digital processes that take place in the professional practice of architecture. Digital processes are highly efficient in comparison to the craft of the hand. However, it brings up the question: What is lost when the design of architecture, ultimately a corporeal endeavor, remains entirely in the digital realm until actual construction? I believe the process in which I undertook did not fully address the question. However, it revealed the resonate quality of handcrafted work in comparison to digital work. Individuals responded positively to the components of the project generated by hand. On the other hand, digital representation often drew critical responses and often had to be qualified and clarified with a disclaimer stating that the work was in process

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and the digital model was a tool to be utilized to construct handcrafted pieces. Ultimately, the digital work was masked in the final exhibition. The storyboard, or ground-up, process generated a dynamic and interesting design that, in the same moment, lacks a certain level of cohesiveness. In their final rendition, the homes appear like a conglomeration at the beginning stages of learning how to co-exist. I would argue that a higher level of cohesiveness was not necessary and that the design resembles something like a medieval city. It echoes the relationships of people: sometimes unified, sometimes charged with tension, and sometimes simply just awkward. In general, I believe the design process engaged in Dwelling in Wanderlust was successfulâ&#x20AC;&#x201D;although it had its trials and errorsâ&#x20AC;&#x201D;in that it was conducive to generating an architecture grounded in the idiosyncrasies of individuals and the relationships they share. With further future refinement, I believe the process has the potential to engender an architecture that balances itself on the knife-edge of individuality and community.

Above: A photo of the final portrait of the Innocent. Right: A photo of the first version of the portrait of the Innocent.

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Left: An early watercolor rendering of the Wanderer’s house. Above: An early watercolor rendering of the Innocent’s house. Opposite left: One of the first watercolor paintings depicting the King’s house. Opposite right: A process painting of the Magician’s house.

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Figurine Early on, I was enamored with the idea of architecture as figurine. Inspired by John Hejduk, I followed my intuition and transposed the archetypes into architectural forms which resembled something like chess pieces. The forms were symbolic and sometimes objective which led me, in the end, to abandon them, at least in their figurine state. The actual formal moves, however, managed to re-emerge in the final massing of the archeytpeâ&#x20AC;&#x2122;s homes.

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Above: An early watercolor rendering of the Orphan’s house. Above right: The final realization of the housing complex where traces of the original forms can be discerned. Opposite left: A watercolor study depicting an idea for the Altruist’s house. Opposite right: An early watercolor rendering of the Warrior’s house, which exhibits sharp angles and the beginning stages of a two-part home.

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Decompression These paintings were produced immediately following a process presentation and critique. The critique left me with a multitude of options. The discussion was not focused and guided; rather, the critics provided a multitude of suggestions and ideas on how the project could play out. One suggestion was to take a step back, put aside the assemblages and archetypes (hide them, in fact) and intuitively draw imagined spaces. I followed the suggestion and continued with watercoloring. The paintings were quick and began with a little figure. Then, the figure experienced the construction of an ambiguous landscape around it. A second figure was added here and there. The paintings became a meditation on phenomenology and a simple act of decompression.

Process and Reflection

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States of Body One can consider the six archetypes as six universal states of mind that a person may experience. As argued by Alberto PĂŠrez-GĂłmez, our minds are inextricably linked to our bodies. Brought up in a critique, this notion led me to consider the six states of body that each archetype would effect. I began my considerations by studying the dancer Isadora Duncan. The studies took the form of simple pastel drawings that illustrate the different poses that Duncan undertook. I then began to link the poses to the six archetypes. This exploration of the idea of states of body would lead to a continued study of the human body and its importance in how we perceive architecture.

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D e s i g n T h r o u g h Pa i n t i n g & S c u l p t i n g A central intent of the project, although it may not appear so, was to discover a way of hand modeling that could fit my design process. After the initial round of watercolor explorations mentioned above, the hand-modeling exploration began with plastilina clay modeling. The clay was chosen first because of its ease of manipulation. Such plasticity was sought for as an analogue to the ease of digital modeling. However, the plasticity of the clay proved to be a challenge when detail was required and in preserving the model. The medium also expressed a bias towards a primordial mood. The softness and irregularity evoked an unrefined, organic quality that did not 118

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resonate with the project and was difficult to overcome. After wrestling with the soft clay, I sought a similar yet more refined medium and decided to tackle plaster carving. The process involved casting rectangular blocks with the intent of carving architectural sections into the blocks. Although it took more time than the clay modeling, the plaster was somewhat easy to carve on the first day. However, as time went on, the plaster hardened and the task became more difficult. The hours spent carving resulted in a rewarding yet timeconsuming sculpture. Despite my desire to continue carving, I realized that time was against me and ultimately decided to fall back on my initial process: design through watercolor paintings.

Opposite: Two early paintings depicting the interior of the house of the Innocent and the house of the Orphan. Above and right: Photos of a plastilina clay model study of the Innocentâ&#x20AC;&#x2122;s house. Following pages: Watercolor studies of the house of the Innocent and the house of the Orphan and corresponding carved plaster study models.

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Sketchbook Design The second round of watercolor paintings were more intentional than the original. I began by collecting watercolor sketchbooks, one for each archetype, as a way to contain each archetype physically so that I could track the design progress and decisions. The paintings done in the sketchbooks soon became the material for storyboards that illustrated the idea of a home. Narrative snippets were added to the images to allude to the character behind them. Even though the paintings were meant to be homes, they were criticized for a lack of the components of everyday life. They evoked ideas of transcendence and resembled sacred places rather than the mundane world from which they began. Kitchens, closets, washrooms, toilets, and bedrooms were missing. Here, I realized that the paintings were more explorations of light quality as they related to the archetypes. I was encouraged to tackle the incorporation of mundane activities and how they could be framed to the benefit of each unique archetype. Right and opposite: Images of the Orphanâ&#x20AC;&#x2122;s sketchbook illustrate figure studies and paintings of imagined spaces.

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Left: Pages of the Altruist’s sketchbook illustrate a sectional study and figure studies. Above: An image of the Orphan’s sketchbook depicts an axon study of the Orphan’s house.

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Above and right: Images of the Orphan’s sketchbook illustrate studies for the exterior of the Orphan’s home.

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Right and opposite: Images of the Wandererâ&#x20AC;&#x2122;s sketchbook illustrate figure studies and a painting of an imagined space alluding to the theme of nostalgia.

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Right and Opposite: Pages from the sketchbooks of the Orphan and the Wanderer depict a continued study of states of body as they relate to the archetypes.

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Left, above and opposite: Sketches of the homes together, in community, were done simultaneously with the sketchbooks. At this point, the homes resembled town homes and were situated on an imaginary street front.

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Left: An exploration of what the staircase of the Orphan’s home could look like. Above: The final rendition of the stair in the Orphan’s house Opposite: Two studies exploring the ideas of protection and denial for the windows of the Orphan’s house. 132

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Above: A study of the Orphanâ&#x20AC;&#x2122;s state of body. Above right: An early depiction of the exterior of the Orphanâ&#x20AC;&#x2122;s home, a place hidden within a forest of stone pillars. Opposite: An illustration of the Orphan journeying to his home and a study on the idea of slow acceptance for the house of the Orphan.

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Opposite: A study of an observatory for the Wanderer’s house and a depiction of the house’s front elevation. Above left: A sectional study of the Wanderer’s house. Above: A view of the final version of the Wanderer’s house as seen in the novellas.

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Above: A study of the side elevation of the Wanderer’s house, which appears to be walking. Above right: A diagram sketch alluding to the idea of a labyrinth. Opposite: A view of the final version of the interior of the Wanderer’s house as seen in the novellas and it’s prototype on the far right. Both illustrate notions of movement and wandering.

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Opposite: A study of a balcony for the Altruist and a final view of the front of the Altruistâ&#x20AC;&#x2122;s house as seen in the novellas. Above left: An illustration on the theme of reconciliation. Above: A study on the Altruistâ&#x20AC;&#x2122;s state of body.

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Opposite: A study illustration of a gathering space within the Altruistâ&#x20AC;&#x2122;s home and, to the right, a final view of the same space as depicted in the novellas. Above left: An elevational study of the Altruistâ&#x20AC;&#x2122;s home in an urban setting. Above: A study of a place of rest for the Altruist.

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About Site The consideration of mundane activities led me to seek constraints to my explorations and ultimately to select a site in Southeast Portland to test how the ideas I had discovered could play out in a physical setting. The site selected was an empty lot on SE Division St. and SE 23rd Ave. It was selected rhetorically as Division Street has experienced a lot of development of urban housing recently and I wanted the homes to begin to reflect on and challenge those recent developments, which I believe fall into the category of contemporary urban housing described in â&#x20AC;&#x153;Architecture as a Vessel for Human Stories.â&#x20AC;? The selection of the site came with constraints that made it easier to imagine and design homes. However, I am still curious as to how the project would have progressed if I had chosen to remain in the imaginative realm entirely. It may have required the imagination of a whole world in which the homes could be situated. Opposite: A site-diagram depicting a snap-shot of the immediate surroundings. Above right: An early watercolor rendering showing an initial study of how the homes could situate themselves on the site.

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The Digital and the Cor poreal Following the storyboards and site selection, I fell to my usual design process, which involved mainly digital modeling and hand sketching. The digital realm offers a kit of domestic parts (chairs, tables, toilets, baths, sinks, etc.) that can easily be placed within a model to add scale. This results in a way of designing that is plastic, realistic, and convincing to modern eyes. Elements can be redesigned with ease and a plethora of ideas can be explored with efficiency. However, the lack of physical artifacts that one can touch, smell, taste, and hear can be disheartening. The digital realm cannot match the sensorial and dynamic interactions one has while building a physical model. The hope had been to find a design process that uses physical models as a way of designing but for the shallow sake of expedience and a hope for a somewhat complete architectural proposal, I turned to digital modeling. However, much of the design of the digital model was inspired by the prior freehand watercolor explorations. Some of the final views closely resemble the earlier watercolor paintings. After substantial completion of the digital model, it was transposed back into the corporeal realm. The model was used as a tool to construct watercolor paintings depicting home-like atmospheres. While the digital model always had life in my imagination, it only came to life to others through the watercolor transpositions. Images produced purely by digital means often lack vitality and the ability to resonate with individuals. I believe it is the mark of the corporeal hand, the mistake, and the lack of detail in the paintings that activates the imagination. The paintings were also accompanied by writing inspired from my own personal life. The specific views were sometimes inspired by a piece of writing and sometimes the case was the opposite where a view inspired a piece of writing. Above right: A digital wireframe of the homes used as structure for a watercolor painting. Opposite: A watercolor painting of the homes created from digital output. 146

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March 13th , 2016

April 5th , 2016

April 9th , 2016

Above: Three images show the progression of the digital model within a monthâ&#x20AC;&#x2122;s time. The sculptural explorations mentioned earlier took place between the left two images before I dove fully into a digital process. Left: A photo of a polymer clay study model. Opposite: A sketch model based on the digital model dated April 5th, 2016.

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April 22nd, 2016

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Process and Reflection

April 25th , 2016

April 28th , 2016

Opposite: Three images show the progression of the digital within a weekâ&#x20AC;&#x2122;s time. The minor changes that occured between the models dated April 9th and April 22nd revealed a stagnation in the design development. This prompted the freehand sketches on the same page and the design overhaul present in the images dated April 25th and 28th. Prior to the overhaul, the digital model worked as a catch basin for design ideas and became too complex to continue to work with and was abandoned. A new model was generated to refine and simplify the ideas generated in the last. Above right: A digital wireframe used to as structure for a watercolor painting. Above: A final watercolor painting depicting the resolution of the sixhome complex. Process and Reflection

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V CONCLUSION

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C O N C L U S I O N : V E S S E L S F O R WA N D E R E R S Sometimes a man rises from the supper table and goes outside. And he keeps on going because somehwere to the east thereâ&#x20AC;&#x2122;s a church. His children bless his name as if he were dead. Another man stays at home until he dies, stays with plates and glasses. So then it is his children who go out into the world, seeking the church that he forgot. Rainer Maria Rilke, (Rilkeâ&#x20AC;&#x2122;s Book of Hours: Love Poems to God, trans. Anita Barrows and Joanna Macy) Dwelling in Wanderlust has been an honest seeking for a design process from which a loving architecture could emerge. It arose from a desire to discover how the craft of architecture can love individuals at a personal and meaningful level. It is easy to see how a counselor or a life coach, for example, can encourage and build up an individual. However, what of architecture? Contemporary culture, especially in the west has commodified the built environment and robbed it of its meaning and its ability to contribute to the psychosomatic health of individuals. It is based on the values of engineers, efficiency, and expedience and has been successful to those values. A top-down imposition to garner change for a more meaningful environment is unlikely to succeed. Therefore, Dwelling in Wanderlust is an effort that proposes a ground-up approach to enact change in a well-established, leviathan-like system. It seeks first to touch the individual at an emotional and spiritual level, to reveal the immense potential of a meaningful built environment. When the individual is loved, illuminated, and encouraged, is when real change can take place. As value for a meaningful built environment increases at

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the individual level, so will the demand, inevitably resulting in change. The way architects practice also must change. Dwelling in Wanderlust has been a search for a way of designing that acknowledges the commonalities between individual stories as well as their idiosyncrasies; one that fortifies a sense of humanity, identity, and community in the individual. The project has been a way to learn empathy for the complex humans that architecture is meant for and to be critical of contemporary architectural biases and tendencies towards the merits of form generation, efficient means of fabrication, or sustainable development, which all, on their own, fail to contribute a sense of meaning to humanity. Instead, the project hopes to find a way of practicing that ultimately ends in a product that contributes to the psychosomatic health of people. The six archetypes studied are only one avenue that architects can use to understand the complexity of humans and to design empathically responsive architecture. The archetypes can be especially useful in the contemporary urban environment where future inhabitants are many and unknown to the designer. They can offer cues to the designer as to what the inhabitants may be like and so aid the designer in accommodating each type through design, potentially resulting in truly diverse urban settings. For example, a combination of research into the Myers-Briggs Type Indicator and the Pearson-Marr Archetype Indicator would merge objective and subjective understandings of personality and could result in interesting findings. Additionally, the archetypes may also carry the danger of oversimplifying human character. However, they have been a fertile starting point from which character can take off. With the adoption of names and bodies, in the form of watercolors, the six characters within Dwelling in Wanderlust began to move slowly away from the archetypes and take on

personalities and nuances of their own. One could also begin to incorporate ideas of participatory design and self-build methods. The homes could be designed and built to a certain point of unfinishedness where an individual can take over and fill out the space to truly meet their needs and desires. Another mark of success showed itself in enthusiastic responses from viewers throughout the project. The archetypes sparked the question s such as “Which archetype do you identify with?” between viewers and became the catalyst for interesting conversation and participation. The archetypes resonated with viewers and drew them to the project. The design of the six homes, that hardly reached full realization, are meant to question typical design standards of contemporary urban housing and suggest a way of designing that is rooted in the diversity and timelessness of human character and relationship. Although designed for six characters, the homes can also be seen as a single home or as a metaphor for the mind of an individual. They are not meant to be a solution to the question of a meaningful architecture but only one exploration of what it might be. Alberto PérezGómez states, “…true architecture […] responds to a desire for an eloquent place to dwell, one that lovingly provides a sense of order resonant with our dreams, a gift contributing to our self-understanding as humans inhabiting a mortal world.”23 Architecture, to achieve its highest vocation, must resonate with the stories of individuals and play a meaningful and active role in the lives of people. Through adopting the concepts of personality type, archetype and storytelling, architects can take a step closer in designing empathic architecture that resonates with the complex wanderers that humans are.

Right: An early sketch contemplating the transcendental homelessness of humanity. 155

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VI APPENDICES

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ENDNOTES 1. Martin Heidegger, “Building, Dwelling, Thinking,” In Basic Writings: From Being and Time (1927) to The Task of Thinking (1964). (New York: Harper & Row, 1977), 362. 2. Friedrich Nietzsche, The Gay Science, ed. Bernard Williams, trans. Josefine Nauckhoff (Cambridge: Cambridge University Press, 2001), 199. 3. Karsten Harries, The Ethical Function of Architecture. (Cambridge, Massachusettes: The MIT Press, 1997), 161. 4. Alberto Pérez-Gómez, Attunement: Architectural Meaning after the Crisis of Modern Science. (Cambridge, MA: MIT Press, 2016), 6. 5. Harries, Ethical Function, 168-178. 6. Pérez-Gómez, Attunement, 221. 7. Heidegger, “Building, Dwelling,” 363. 8. Esra Akcan, “Open Architecture as Adventure Game: John Hejduk in a Noncitizen District.” In Amnesia. Perspecta 48, The Yale Architectural Journal, edited by Aaron Dresben, Edward Hou, Andrea Leung, and Teo Quintana, 128-143. (Cambridge: MIT Press, 2015), 133-134. 9. Pérez-Gómez, Attunement, 227. 10. Pérez-Gómez, Attunement, 218. 11. Pérez-Gómez, Attunement, 220. 12. Joseph Campbell, The Hero with a Thousand Faces. (Princeton, NJ: Princeton University Press, 1972). 13. Center for Applications of Psychological Type. “About the PMAI® Archetype Instrument.” About the Pearson-Marr Archetype Indicator® Instrument. Accessed June 04, 2016. https://www.capt.org/pmai-assessment/archetype-assessmentpersonality.htm. 14. For the six archetypes listed please see: Carol S. Pearson. The Hero Within: Six Archetypes We Live by. 3rd ed. New York, NY: HarperCollins, 1998. 15. Pérez-Gómez, Attunement, 228 16. Carol S. Pearson, The Hero Within: Six Archetypes We Live By. 3rd ed. (New York, NY: HarperCollins, 1998), 68-69. 17. Pearson, The Hero Within, 29. 18. Harries, Ethical Function, 365-367. 19. Karsten Harries, “The Two Faces of Nostalgia.” Amnesia. Perspecta 48, The Yale Architectural Journal, ed. Aaron Dresben, Edward Hou, Andrea Leung, and Teo Quintana, (Cambridge:

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MIT Press, 2015): 14-15. 20. Pérez-Gómez, Attunement, 221. 21. Kyle Dugdale, “They Too Were Silent.” Amnesia. Perspecta 48, The Yale Architectural Journal, ed. Aaron Dresben, Edward Hou, Andrea Leung, and Teo Quintana, (Cambridge: MIT Press, 2015): 116. 22. Dugdale, “They Too Were Silent,” 108. 23. Pérez-Gómez, Attunement, 226-227.

24. Alberto Pérez-Gómez, Built Upon Love: Architectural Longing After Ethics and Aesthetics. (London, England: The MIT Press, 2008, Print), 4.

BIBLIOGRAPHY Akcan, Esra. “Open Architecture as Adventure Game: John Hejduk in a Noncitizen District.” In Amnesia. Perspecta 48, The Yale Architectural Journal, edited by Aaron Dresben, Edward Hou, Andrea Leung, and Teo Quintana, 128-143. Cambridge: MIT Press, 2015. Bachelard, Gaston. The Poetics of Space. Boston, Massachusetts: Beacon Press, 1969. Campbell, Joseph. The Hero with a Thousand Faces. Princeton, NJ: Princeton University Press, 1972. Casey, Edward. “Two Ways to Dwell,” in Getting Back into Place: Toward a Renewed Understanding of the Place-World. Bloomington, IN: Indiana University Press, 1993, 109- 145. Center for Applications of Psychological Type. “About the PMAI® Archetype Instrument.” About the Pearson-Marr Archetype Indicator® Instrument. Accessed June 04, 2016. https://www.capt.org/pmai-assessment/archetype-assessmentpersonality.htm. Crippa, Maria Antoinetta. “A Dwelling for Man within the Harmony of the Cosmos,” In The Religious Imagination in Modern and Contemporary Architecture: A Reader, by Renata J. Hejduk. New York: Routledge, 2011. 104-110. Dugdale, Kyle. “They Too Were Silent.” In Amnesia. Perspecta 48, The Yale Architectural Journal, edited by Aaron Dresben, Edward Hou, Andrea Leung, and Teo Quintana, 108-117. Cambridge: MIT Press, 2015.

Harries, Karsten. The Ethical Function of Architecture. Cambridge, Massachusettes: The MIT Press, 1997. Harries, Karsten. “The Two Faces of Nostalgia.” In Amnesia. Perspecta 48, The Yale Architectural Journal, edited by Aaron Dresben, Edward Hou, Andrea Leung, and Teo Quintana, 6-15. Cambridge: MIT Press, 2015. Heidegger, Martin. “Building, Dwelling, Thinking.” In Basic Writings: From Being and Time (1927) to The Task of Thinking (1964), 343-363. New York: Harper & Row, 1977. McGregor, James, “The Architect as Storyteller: Making Places in John Hejduk’s Masques,” in Architectural Theory Review, 7:2, 59-70, DOI: 10.1080/13264820209478457. 2002. Nietzsche, Friedrich. The Gay Science. Edited by Bernard Williams and translated by Josefine Nauckhoff. Cambridge: Cambridge University Press, 2001. Norberg-Schulz, Christian. “The Phenomenon of Place.” In Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory, 1965-1995, edited by Kate Nesbitt. New York: Princeton Architectural Press. 1996. 414-428. Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester: John Wiley & Sons Ltd, 2012. Pearson, Carol S. The Hero Within: Six Archetypes We Live by. 3rd ed. New York, NY: HarperCollins, 1998.

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B I B L I O G R A P H Y ( C O N T. )

Pérez-Gómez, Alberto. Attunement: Architectural Meaning after the Crisis of Modern Science. Cambridge, MA: MIT Press, 2016. Pérez-Gómez, Alberto. Built Upon Love: Architectural Longing After Ethics and Aesthetics. London, England: The MIT Press, 2008, Print. Tall, Deborah. “Dwelling: Making Peace with Space and Place,” in Housing and Dwelling: Perspectives on Modern Domestic Architecture edited by Barbara Miller Lan. New York: Routledge, 2007. 424-431. Wolfreys, Julian. “Dwelling with Dickens and Heidegger,” in The Domestic Space Reader. Edited by Chiara Briganti and Kathy Mezei. Toronto, Canada: University of Toronto Press, 2012. 335-343.

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