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Domestic Uncharted FAMILIAR SPACES, ABSTRACT PERSPECTIVES
Danielle Connelly
Danielle Connelly designs objects for the domestic space that reconsider prescribed patterns of daily life to inject the atypical and the unknown into the everyday. evidenceofthings.com
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Domestic Uncharted FAMILIAR SPACES, ABSTRACT PERSPECTIVES
MFA INDUSTRIAL DESIGN THESIS PARSONS, THE NEW SCHOOL
Danielle Connelly
CONTENTS
INTRODUCTION
6
DOMESTIC CONDITION
12
THRESHOLD
16
ACTIVE OBJECTS
28
FAMILIAR SCENES, ABSTRACT
40
PERSPECTIVES
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THE DOMESTIC UNCHARTED
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FABRICATION DETAILS
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IMAGE CREDITS / ENDNOTES
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INTRODUCTION
“To collect a sequence of objects is, for a moment at least, to have imposed some sense of order on a universe that doesn’t have any.” ^ Deyan Sudjic, The Language of Things, 2009
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The Domestic Uncharted Orientation ^
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INTRODUCTION
“...a protected place at one’s disposal where the pressure of the social body on the individual does not prevail, where the plurality of stimulus is filtered, or, in any case, ideally ought to be.” ^ Michel de Certeau, The Practice of Everyday Life, 1990.
Introduction The Domestic Uncharted is a body of research into the performance of domestic daily life. The result is a family of objects that accentuate the significance of the transition from public to private existence by reframing familiar spaces through an abstract perspective. A constant point of personal curiosity, the domestic space is informed by its’ architecture, but populated by objects that inform life. It is a place of physical and mental ease where we accumulate our chosen objects and perform our habitual acts in the freedom of convention and familiarity. These distinctive objects infallibly allow expression in spaces which would otherwise be unyielding to intervention, especially in regards to rental property.
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Switch Inclusion / Preference Transparency ^
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INTRODUCTION
As described by Deyan Sudjic in his book The Language of Things, “to collect a sequence of objects is, for a moment at least, to have imposed some sense of order on a universe that doesn’t have any.”1 This private assemblage of things and choices creates particular patterns of behavior that define and reinforce a personalized perspective of the world. The routines and rituals of the domestic space are what Michel de Certeau describes in his book The Practice of Everyday Life, Vol. 2 as “invented” methods of doing things. According to Certeau, these habitual acts, “gain a defining value: “For me, this is how I do it . . . In my family, we always do it this way. . .” which becomes embedded in our psyche. “Here the child grows up and stores away in memory a thousand fragments of knowledge and discourse that later will determine his or her way of behaving, suffering, and desiring.”2
“For me, this is how I do it . . . In my family, we always do it this way. . .” ^ Michel de Certeau, The Practice of Everyday Life, 1990.
^ Unconscious Bias + Categorization.
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DOMESTIC PERSPECTIVE
If intuition is simply pattern recognition, can we disrupt categorization and challenge our perspective on a daily basis?
Domestic Perspective Unvarying and unremarkable, the domestic is representative of its inhabitants’ proclivities without judgement or challenge. It is comfortable being settled. How we curate and compose our domestic lives at once reveals our learned preferences and exposes our aversions. Through the process of defining oneself we simultaneously, if unconsciously, distinguish all that is other. This can be seen in an app called Not HotDog which is an image recognition software the detects whether or not a photo is of a hot dog. While silly in concept, the development of the software is very interesting in that it required an imput of 3,000 images of hot dogs, but almost 147,000 images of things that were not hot dogs in order to train the app to recognize accurately.3
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Image RecognitionTraining ^
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DOMESTIC PERSPECTIVE
In The Language of Things, Sudjic claims that, “[Objects] are what we use to define ourselves, to signal who we are, and who we are not. Sometimes it is jewellery that takes on this role, at other times it is furniture that we use in our homes, or the personal possessions that we carry with us…”4 While identity, or the differentiation between own and other, may be distilled in our homes, it is also the lens through which we operate and interpret our daily lives beyond the privacy of our homes. How can domestic objects be designed to defend us from the incessant assault of uncritical contentment and afford resilience in navigating confrontation with divergent paradigms?
How can our objects influence daily life in a way that benevolently questions our established modes of operation?
^ When One Door Opens.
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THE THRESHOLD 1. The entryway is much more than a place to collect things >
The Threshold From this theoretical framework of the domestic, the entryway was selected as an initial case study. The entryway is a space of tension existing between the confrontational and communal public and the comfortable and individual private. This is a place were we accumulate many things (coats, shoes, keys, mail, etc.) and perform very specific entry and exit routines that are typically, or traditionally, accommodated for architecturally. Most houses have entire rooms dedicated to entering, but as our cities become more dense and more diverse, the economy of space has driven these spaces to near extinction. Direct-entry apartments are commonplace, where a thin strip of door frame separates all that is intimate and interior from all that is distant and exterior.
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THE THRESHOLD
antechamber noun 1. a small room leading to a main one.
‘join together’ and ‘separate’. Eastern culture emphasizes a ‘gray area’ where public and private life ‘interpenetrate, exist in symbiosis and stimulate each other’.
entryway noun 1. a way in to somewhere or something; an entrance.
hall noun 1. the room or space just inside the front entrance of a house or apartment.
foyer noun 1. an entrance hall or other open area in a building used by the public. genkan noun 1. a traditional Japanese entryway area for a house, apartment, or building— something of a combination of a porch and a doormat. It is usually located inside the building directly in front of the door. The primary function of the genkan is for the removal of shoes before entering the main part of the house. 2. ‘Genkan’ is composed of two characters, where ‘gen’ means ‘profound, abstruse, occult or mysterious’, and ‘kan’ means ‘barrier, connection or turning point’. Like the English word ‘cleave’, it means both
lobby noun 1. a room providing a space out of which one or more other rooms or corridors lead, typically one near the entrance of a public building. mudroom noun 1. a small room or entryway where footwear and outerwear can be removed before entering a house: somewhere to take off wet coats, to air clothes, for dogs to sleep in. narthex noun 1. an antechamber, porch, or distinct area at the western entrance of some early Christian churches, separated
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off by a railing and used by catechumens, penitents, etc.
result, or condition to occur or be manifested.
portico noun 1. a structure consisting of a roof supported by columns at regular intervals, typically attached as a porch to a building.
veranda noun 1. a roofed platform along the outside of a house, level with the ground floor. vestibule noun 1. an antechamber, hall, or lobby next to the outer door of a building. 2. Anatomy: a chamber or channel communicating with or opening into another.
procemium noun 1. the part of a theater stage in front of the curtain. stoop noun 1. a porch with steps in front of a house or other building.
zaguán noun 1. a covered space located in the home, usually next to the door. The zaguán is an essential organizing element. In it, the main access from the street takes place, from which, in turn, the columned patio is accessed, where the staircase and the main rooms are located.
terrace noun 1. a level paved area or platform next to a building; a patio or veranda. threshold noun 1. a strip of wood, metal, or stone forming the bottom of a doorway and crossed in entering a house or room. 2. the magnitude or intensity that must be exceeded for a certain reaction, phenomenon,
New Oxford American Dictionary ^
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THE THRESHOLD 3. Traditional British foyer presents the home to guests >
^ 2. Classic vestibule floorplan
However, a drastic shift occurs when we pass from the public to the private realm that demands a physical and mental transition. Architectural affordances such as a foyer, a porch, a vestibule, a hall, a genken, a zaguan, or a procemium add an essential practical and emotional value. A mudroom, for instance, is extremely useful for shedding outerwear and footwear while maintaining order and cleanliness in a delineated space. But, it is also functional in that is gives clear instructions to guests and visitors on the expectations of the host when they enter the house.
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THE THRESHOLD
“The game of exclusions and preferences... composes a “life narrative” before the master of the house has said the slightest word.” ^ Michel de Certeau, The Practice of Everyday Life, 1990.
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< 4. The entryway is also capable of conveying household rituals
5. Zaguan reference floorplan ^
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THE THRESHOLD 7. The genkan provides a physical and mental transition zone >
^ 6. Traditional genkan floorplan
Many assumed behaviors regarding privacy, security, cleanliness, organization and mindfulness can be portrayed and encouraged by the sheer existence of an entry room. One such space is the Japanese genkan, or entry hall, which can be seen as an environment of pause. As Bruno Munari explains in Design and Art, “the entrance of this very ancient type of house is most discreet. One does not step straight from the street into the living-room, as we so often do. There is a space, nearly always a small space, between the street and the door…”5
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THE THRESHOLD
The genkan space acts as a filter between public and private and provides a moment in which occupants and visitors coexist in a semi-private setting. According to Michael Lazarin’s paper titled Temporal Architecture: Poetic Dwelling in Japanese Buildings the term ‘genkan’ is, “composed of two characters, where ‘gen’ means ‘profound, abstruse, occult or mysterious’, and ‘kan’ means ‘barrier, connection or turning point’. The range of senses of ‘kan’ can be seen in other compound words such as ‘nankan’ (difficulty, obstacle), ‘kankei’ (relation, concerned with) and ‘kansetsu’ (joint). Like the English word ‘cleave’, it means both ‘join together’ and ‘separate’.”6 Upon entry into the genkan, there is a visual confrontation, physically manifested as a step, through which the actions of transitioning from one place to another are immediately understood. However, there is a compilation of forces at work in creating the transitory atmosphere of the genkan and other entry spaces that go beyond architectural features. This influence can be attributed to the domestic objects that occupy the space and play an active role in facilitating the subsequent entry and exit rituals.
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< 8. Rituals create the transitory atmosphere of the genkan.
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ACTIVE OBJECTS
Everyday objects develop a visual presence in our domestic lives and engender attachment through daily routines. These objects have the capacity to become visual participants in the formation of meaning in a personal space. In a sense, they become subjects as a visual composition, activated through abstraction. But how do we gather an intuitive understanding of the emotional connection that each individual develops subconsciously with their entryway? And how can that be convey or depicted?
Active Objects Recently published on an online art portal, was an article about Matisse and a chocolate pot that he depicted in paintings throughout his career. As a wedding gift, this everyday object held great significance in the artist’s life. According to the article, Matisse wrote a letter to his wife in 1920 assuring her that, “[My] objects keep me company…I am not alone.”7 There is an obvious indication that these sorts of objects play an important role in our lives through their use and longevity. But, they also carry a significance as an abstract image of the everyday life. The chocolatière was cast as a subject in many seemingly simple domestic compositions. According to Matisse, “a good actor can have a part in ten different plays; an object can play a role in ten different pictures,” and the chocolatière was no exception.
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^ 9. Henri Matisse, Still Life on a Blue Tablecloth, 1909.
ACTIVE OBJECTS
While formulating the entryway case study, some interesting research pertaining to image recognition software development and crowd sourced machine learning was discovered.8 Google AI Blog recently developed an app called Quick, Draw! where the user basically plays Pictionary against a computer which is being trained to guess what the user is sketching. Entertainment is the surface value of the game, but the real meat is in the collection of an open source dataset of over 800 million sketches from around the world. Through the visual aggregation of this “sketch” data, one can start to understand patterns and discern commonalities and differences in intuitive understanding on a global scale.
^ 10. Quick, Draw! dataset
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11. Google’s Quick, Draw! app ^
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ACTIVE OBJECTS
â&#x20AC;&#x153;Sandwiches took defined forms or were a jumbled set of lines; mug handles pointed in opposite directions; and chairs were drawn facing forward or sideways, depending on the nation or region of the world.â&#x20AC;? ^ Jeff Dean, Google: Quick, Draw! 2017
^ 12. Overlay of 1000 chairs, USA.
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13. Overlay of 1000 chairs, South Korea ^
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ACTIVE OBJECTS 15. Gianluca Gimini, Velocipedia, 2009 >
^ 14. Classic vestibule floorplan.
The project titled Velocipedia by Gianluca Gimini was inspiring to the research because of his utilization of the intuitive understanding of objects and the way he captures this informative knowledge. In the study, the designer asks participants to draw a men’s bicycle from memory, which resulted in non-functional prototypes, but uninhibited design ideas. According to Gimini, “this is actually a test that psychologists use to demonstrate how our brain sometimes tricks us into thinking we know something even though we don’t.” 9 In the spirit of Velocipedia and Quick, Draw!, The Domestic Uncharted employs a survey asking participants to draw their entryway from memory in 2 minutes. The prompt is left intentionally vague in order to not skew the results, but in the end created more interesting questions than answers.
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ACTIVE OBJECTS
Is the entryway viewed in terms of departure or arrival? 10
^ Intuitive Entryway survey.
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Are the objects an accumulation of cast off items or a presentation of welcoming decor?
Intuitive Entryway survey ^
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
Is it considered a room or defined by contextual spaces?
^ Intuitive Entryway survey.
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What entails a room?
Intuitive Entryway survey ^
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
Rituals and patterns of behavior imposed on objects in our homes constitute their domestic nature in an intuitive, time-driven process. Objects possess their own role in the theater of things through associated meaning and become impressed on our consciousness. So within this research, the possibility of consciously tapping into this interaction, the attachment of a domestic nature to objects, seems like a thought worth exploring. ---How can we create objects that are domestic but not domesticated? And furthermore, how can these activated objects take on the role of creating the atmosphere of a room for transition?
Familiar Scenes, Abstract Perspectives
We commonly understand domestic objects as those that exist within our homes, within the spaces that we dwell. But, if we think about the word domestic in another familiar context, the domestic animal, we think of those which through time have been tamed to cohabitate and perform routines that are adapted to our way of living. Perhaps we could imagine a world of objects that have not been domesticated and then posit how they came to be as they are. Like hanging a slice of tree trunk in the house, or receiving a chocolate pot as a wedding gift, we can imagine that the nature of these objects is transformed when they are brought home to start a life within the domestic environment.
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16. The Uncomfortable Key ^
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
room noun 1. space that can be occupied or where something can be done, especially viewed in terms of whether there is enough. ^ New Oxford American Dictionary.
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< 17. Spatial models in paper.
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
^ 18. Allan Wexler, On the Art of Building, 2008.
In a section titled Poems and Telegrams from the book Design As Art by Bruno Munari, he describes the speed in which we read a poem, contrary to a telegram, as, â&#x20AC;&#x153;only communicating if read slowly: only then does it have time to create a state of mind in which the images can form and be transformed.â&#x20AC;?11 From this idea, one could assume that personal objects in the domestic space appear to us as words in a poem, only if taken in over time.
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Process sketches of space shaping objects ^
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
Munari cites the artist Paul Klee as having once, â&#x20AC;&#x153;wrote a poem and filled the spaces between the letters with various colors...The result was that the words revealed themselves to the consciousness in slow motion.â&#x20AC;? The idea that design can be shaped to react to motion and rates of perception became very attractive. If the objects in our presense reveal themselves to our subconsious at different rates, how could an entryway object influence the cadence of arrival and departure procession?
^ Sketches of spatial forms.
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19. Fred Sandback, Untitled, 1987 ^
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
^ 20. James Turrell, After Green, 2003.
Introducing objects into the home that were developed as applied abstract forms allows them to be functional and beautiful, but also free from categorization. â&#x20AC;&#x153;Categorization is the process in which ideas and objects are recognized, differentiated, and understood. Categorization implies that objects are grouped into categories, usually for some specific purpose. Ideally, a category illuminates a relationship between the subjects and objects of knowledge.â&#x20AC;?12 This is a routine process that happens rapidly as we are confronted with visual stimulus and helps to streamline our comprehension of the world around us.
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Sketches of depth illusion mats ^
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
“It is essential to an architect to know how to see: I mean, to see in such a way that the vision is not overpowered by rational analysis.” ^ Luis Barragan, Mexican Architect, 1902-1988.13
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< 21. Felice Varini, Cinq Cercles Concentriques Noir, 1993.
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^ 22. Felice Varini, Cinq Cercles Concentriques Noir, 1993.
FAMILIAR SCENES, ABSTRACT PERSPECTIVES
^ Rhino perspective modeling diagram.
The Domestic Uncharted looks to introduce anamorphic objects that can be categorized several different ways and as they present themselves, continue to develop in understanding. In this sense, they command the attention of the user as their categorization shifts from geometric artwork to functional abstraction and resists being identified. The Domestic Uncharted pieces explore this new possibility, where objects can partake by assuming different forms from different points of view that you would normally not expect. Their non-characterization illuminates a relationship between the subjects and the space dictated by the object.
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Anamorphic Study Models ^
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FAMILIAR SCENES, ABSTRACT PERSPECTIVES
< Test rendering of Square Step from threshold perspective.
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^ Test rendering of Square Step in transition.
THE DOMESTIC UNCHARTED
The Domestic Uncharted The Circle Shelf, viewed from the threshold, is at first boldly graphic and two dimensional, intent on sparking awareness through curiosity. The momentary resolution of a circular illusion plays with the recognition of a shape that is platonic and familiar, but situated as to be confrontational and unexpected. Moving into the room, the frontal planes that complete the initial graphic tear away from each other and extrude a depth of space that previously had not appeared to exist. The shelf challenges the passage of the user as their progressing vantage point reveals a physical object, abstracted by its existence in three dimensions. And yet, this abstraction is what gives functionality to the product in terms of displaying and storing items as well as framing the perspective of the entrant.
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Circle Shelf, perfect perspective ^
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THE DOMESTIC UNCHARTED
^ Circle Shelf, transition perspective 02
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Circle Shelf, transition perspective 03 ^
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THE DOMESTIC UNCHARTED
^ Circle Shelf, transition perspective 04
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THE DOMESTIC UNCHARTED
Maintaining an awareness of one’s personal paradigm is of paramount importance as one enters or leaves the home because, while the home is an oasis of wellness and comfort, it is also a place ripe with intended consistency. The Domestic Uncharted looks to design the ordinary in a way that ensures that we don’t settle on what we know. It asks us to see the overlooked and look at the unseen because in the fading nuance of perspective and opinion is lurking a dangerous mentality: complacency. ^ Circle Hooks + Brackets rendering.
The Domestic Uncharted pieces explore the use of anamorphic illusion, or the reformation of an image from a specific vantage point, to emphasize the co-existence of infinite points of perspective in comparison with a singular, “perfect” point of view. The illusion of the complete graphic acts as a lens through which to reflect on a constant companion, the user’s personal world-view. Moving into the transition space, the illusion is broken as it is contextualized, and with each step the image is rendered anew, each frame as distinct and valid as the one before.
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Circle Table concept rendering ^
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THE DOMESTIC UNCHARTED
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Circle Stills concept rendering ^
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FABRICATION DETAILS
^ Press brake bend 01.
Fabrication Details The Circle Shelf is made of 14 gauge powder coated stainless steel. The flat pattern is cut out on the water-jet cutter and bent 90 degrees in three places on the press brake and then tack welded at the back seam. The custom brackets are fuse welded together and then tack welded to the back of the shelf. The wall mounted half of the brackets are counter sunk and screwed into the wall.
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Press brake bend 02 ^
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FABRICATION DETAILS
96” bracket
cleat weld 48”
Solidworks bend lines
shelf
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Cut and bend pattern ^
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FABRICATION DETAILS
The Circle Shelf is mounted at eye level and once installed floats 1/4” from the wall. The fabricated shelves weigh approximately 12 lbs. and can hold up to 50 lbs. They are easily nested for shipment and storage.
^ Final Circle Shelf in Patel Green.
H: 8.5”
L: 28”
nesting
W: 10.5”
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Nestable for shipping + storage ^
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FABRICATION DETAILS
fuse weld
Circle Hooks + Brackets rendering ^
tack weld
The fabrication of the shelves was made possible by the collaboration with MEER Precision at the GMDC. Through the process of production, several details surfaced that would require attention in further interations. These include the development of a jig for expedited bending accuracy, adjustment of the tolerances of the bracket system in order to accomodate powder coating, and a consideration of how to suspend the shelf during the powder coating process.
#8 flathead stainless screws wall
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IMAGE CREDITS
1
STRING SYSTEM REGAL. <https://www.madeindesign.de/prod-string-systemregal-lochblech-zeitschriften-und-schuhstaender-l-58-cm-x-t-30-cm-string-furniturerefmss5830-12-1.html>
2
ELEVATION OF THE PRINCIPLE FRONT OF A VILLA. <http://archimaps.tumblr.com/ post/107277625992/elevation-and-plans-of-a-villa-1779>
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ENTRANCE HALL. <http://shearerpca.us/entrance-hall-decor.asp>
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IMAGE CREDITS
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GIANLUCA GIMINI. Leonardo 19 Anni Studente, Sketch. <http://www.gianlucagimini. it/prototypes/velocipedia.html>
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GIANLUCA GIMINI. Leonardo 19 Anni Studente, Render. <http://www.gianlucagimini. it/prototypes/velocipedia.html>
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KATERINA KAMPRANI. The Uncomfortable Key. <https://www.theuncomfortable.com/ portfolio/the-uncomfortable-key-2/>
SUNRISE WALLPAPER. <https://cupofjo.com/2017/09/fort-greene-townhouse-grtarchitects/>
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RAYA SADER BUJANA. Models in Paper. <https://usaartnews.com/events/motion/ paper-art-by-raya-sader-bujana-for-doiy>
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RECONSTRUCTED PLAN OF MARTINEZ HACIENDA. <http://www. dennisrhollowayarchitect.com/MartinezHacienda.html>
18
ALLAN WEXLER. On the Art of Building, 2008. <http://www.allanwexlerstudio.com/ projects/art-building-2008>
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GENKAN FLOORPLAN. <http://www.mncertifiedvets.us/traditional-japanese-houseplans/traditional-japanese-house-plans-lovely-minimalist-house-floor-plans-minimalistjapanese-house-japanese/>
19
FRED SANDBACK. Untitled, 1987. <https://www.jensengallery.com/fred-sandback/>
20
JAMES TURREL. After Green, 2003. <http://hainesgallery.com/james-turrell-work/>
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TAKE YOUR SHOES OFF. <https://ichibandaily.com/japanese-customs-you-need-toknow-when-travelling-to-japan/>
21
FELICE VARINI. Cinq Cercles Concentriques Noir, 1993. <https://www.gwarlingo. com/2012/optical-illusions-of-felice-varini/>
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GENKAN ENTRY. <http://aladd.net/archives/35247.html>
22
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FELICE VARINI. Cinq Cercles Concentriques Noir, 1993. <https://www.gwarlingo. com/2012/optical-illusions-of-felice-varini/>
HENRI MATISSE, Still Life with Blue Tablecloth, 1909. Collection of the State Hermitage Museum.
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OPEN GLOBAL DATASET. Google AI Blog. <https://ai.googleblog.com/2017/08/ exploring-and-visualizing-open-global.html>
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QUICK, DRAW! LOGO. Google AI Blog. <https://ai.googleblog.com/2017/08/ exploring-and-visualizing-open-global.html>
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1000 CHAIR OVERLAY, USA. Google AI Blog. <https://ai.googleblog.com/2017/08/ exploring-and-visualizing-open-global.html>
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1000 CHAIR OVERLAY, SOUTH KOREA. Google AI Blog. <https://ai.googleblog. com/2017/08/exploring-and-visualizing-open-global.html>
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ENDNOTES
1
Sudjic, Deyan. The Language of Things. New York: W. W. Norton & Company, 2009.
2
De Certeau, Michel, Giard, Luce, Mayol, Pierre. The Practice of Everyday Life, Volume 2: Living and Cooking. Minneapolis: University of California Press, 1984.
3
Anglade, Tim. How HBO’s Silicon Valley built “Not Hotdog” with mobile TensorFlow, Keras & React Native. MEDIUM, 26 Jun. 2017. <https://medium.com/@timanglade/ how-hbos-silicon-valley-built-not-hotdog-with-mobile-tensorflow-keras-react-nativeef03260747f3>. Date accessed: 20 Oct. 2017.
4
Sudjic, Deyan. The Language of Things. New York: W. W. Norton & Company, 2009.
5
Munari, Bruno. Design as Art. New York: Penguin Books, 1971.
6
Lazarin, Michael. Temporal Architecture: Poetic Dwelling in Japanese Buildings. FOOTPRINT, [S.l.], p. 97-112, June 2008. ISSN 1875-1504. Available at: <https:// journals.open.tudelft.nl/index.php/footprint/article/view/689>. Date accessed: 12 Feb. 2018. doi: https://doi.org/10.7480/footprint.2.2.689.
7
Hart, Kim. The Story behind One of Matisse’s Most-Painted Objects. ARTSY, 5 Sep. 2017. <https://www.artsy.net/article/artsy-editorial-story-one-matisses-most-paintedobjects>. Date accessed: 20 Oct. 2017.
8
Jana, Reena, Lovejoy, Josh. Spotlight: Exploring and Visualizing an Open Global Dataset. GOOGLE AI BLOG, 25 Aug. 2017. <https://ai.googleblog.com/2017/08/ exploring-and-visualizing-open-global.html>. Date accessed: 22 Oct. 2017.
9
Gimini, Gianluca. Velocipedia. GIANLUCAGIMINI.IT. 2009. <http://www. gianlucagimini.it/prototypes/velocipedia.html>. Date accessed: 22 Oct. 2017.
10
I would like to thank my thesis advisors, Rama Chorpash, Mark Bechtel, Julie Lasky and Shaun Fynn for all of their patience and guidance. My mentor and partner, Gabe for his intellectual and material contributions. The unrivaled Cohort 2 for being amazing and constantly pushing my work. My fantastic sister for her sharp editing eye. And to my mom and dad, I love you THIS much!
Connelly, Danielle. “Domestic Interface”, survey, 2017.
11
Munari, Bruno. Design as Art. New York: Penguin Books, 1971.
12
Matta, Nada, Atifi, Hassan, Ducellier, Guillaume. Daily Knowledge Valuation in Organizations: Traceability and Capitalization. London: ISTE Ltd, 2016.
13
Uribe, Begona. Spotlight: Luis Barragan. ARCHDAILY, 9 March, 2018. <https://www. archdaily.com/607209/spotlight-luis-barragan>. Date accessed: 24 April 2018.
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The Domestic Uncharted is a body of research into the performance of domestic daily life. The result is a family of objects that accentuate the significance of the transition from public to private existence by reframing familiar spaces through an abstract perspective.
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