Thesis Final Hard Cover

May 2011
in,
THE HOUSE OF GLAnCES*
You walk inside yourself, and the tenuous, meandering reflection that guides you It is a secret stream, not of water but of pulse-beats: Calls and answers and calls, a thread of clarities among the tall grasses and the beasts of the mind that crouch in the darkness. Your glance weaves and unweaves the threads of the fabric of space, Your eye is a hand, your hand has five eyes, your glance has two hands, We are in the house of glances and theres nothing to see, We must repopulate the house of the eye, We must populate the world with eyes, We must be loyal to sight, We must CREATE in ORDER TO SEE The fixed idea drills through each minute, thought weaves and unweaves the fabric, You come and go between the infinity outside and your own infinity, You are a thread of the fabric and a pulse-beat of the minute, the eye that drills and the weaver eye, Entering yourself youre not leaving the world, Entering yourself you enter this world and the other worlds, Outside is within, we are walking where weve never been, The meeting-place of this and that, that is right here and now, We are the hinge between here and there, the double sign and one, where the eye is erased, worlds are born: PAINTING HAS ONE FOOT IN ARCHITECTURE AND THE OTHER IN DREAMS. Man is the moment in which the earth doubts that it is earth, the world that it is the world, Man is the mouth that fogs the mirror of likenesses and analogies, The universal mirror that repeating this world reflects another, that transforms what it copies,
Text excerpts from The House of Glances a poem by Octavio Paz 1
in,
the house of glances*
May 2011
in, THE HOUSE OF GLAnCES
i ii
CiTinG inTEnT SiGHTinG inTEnT
7 9 11 13 16 17 18 21 24 26 28 33 34 37 39 40 44 52
mental image. 1 mental image. 2 spatial mapping - applying scale to the mental construct no frame frame the frame(s) within a view from here shifting focus 1:50 site model and custom viewing table custom viewing table - construction details
iii
ESTAbLiSHinG SiTE/SiGHT
iv
iniTiAL DESiGnS
the site the back lane - existing facade a new entrance a new entrance - early plans collecting and the connection between house and objects material investigations; viewing transparency and depth through layering testing the view; gaps between vision and mobility south facing facade - view from the back lane. 10 a.m. looking north, sectional perspective. noon looking north, sectional perspective. 2:00 p.m. new mezzanine level, plan. 3:00 p.m. looking west, sectional perspective. 4:00 p.m. looking north, 1st outer view of the doubled wall. 4:45 p.m. 2nd floor, plan. 5:00 p.m. looking north, sectional perspective. 6:00 p.m. 2nd floor rooftop extension, plan. 7:30 p.m. looking west, sectional perspective. 8:00 p.m. looking north, sectional perspective. 10:00 p.m. looking east, sectional perspective. midnight looking south, sectional perspective. 4 a.m. north elevation looking south, vision. 2 looking north, vision. 1 mobility re-framing mental image. 1 re-framing mental image. 2 the gap revealed
THE FinAL pROpOSAL
57 59 63 67 71 73 75 77 81 83 88 91 93 94 96 97 98 100 102 104
vi
THE HiDDEn ROOM; bETWEEn viSiOn AnD MObiLiTy APPENDIx A: REviSiTinG THE GAp
vii
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May 2011
CiTinG inTEnT
Given certain visual cues, we assume much about our environment. Yet when provoked, distances are misleading and mental maps and/or images are easily re-configured. Vision and mobility act like reactionary co-conspirators, combining in their delayed efforts to create and distort spatial constructs and understandings. Through investigation, this design thesis establishes a dichotomous relationship between what can be seen and inhabited by different people in the context of a shared residential/ social space. The thesis develops the use of depth cues, doubled frame(s) and layering in both views and materials to provoke gaps between the visible
and felt narratives of the buildings public and private spaces. Most importantly, the potential of the frame is considered in its multiplicity: 1. as a frame of reference in the foreground, which is compared to its reflected other in the distance 2. as a single step in a sequence of programmed spaces 3. as a means to prearrange (a system) so as to ensure a desired fraudulent outcome In this context, the frame is understood as an extension and/or delineation of a threshold, a space that sustains the middle in which the two, the outside and the inside, penetrate each other. The threshold (that) bears the between (Taylor 1989:19)
the doubled frame, depth perception, and spatial construct 5
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mental image. 1 6
May 2011
SiGHTinG inTEnT
The original event takes place on a walk down William Ave in Winnipegs Exchange District. The building at 284 William Ave is sighted, experienced in one of two ways: In close proximity, the buildings storefront draws the eye inwards. Receding panes of dusty glass darken in multiple reflections within its interior, framed in the foreground by heavily painted but delicate wooden frames. The first mental image of the site (reconstructed on the left) is dependent upon the relationship provoked between the fore-grounded body and the eyes ability to cross this threshold.
The storefronts layered panes of glass create both barrier and invitation to the building. Between receding reflections and shadows, the eyes and the body, the threshold of the building is extended beyond its exterior boundaries. The visual hierarchy of foreground and background planes are destabilized such that their assemblage becomes more visibly apparent.
mental image. 1 7
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May 2011
From a distance, 284 William Ave is observed through a construction hoarding across the street. In the perceptual flattening of the two spaces into a single image, a second mental image is formed and reconstructed (shown on the left). To frame two objects in space such that they mirror each other in some way, manipulates the perceptual distance between them, creating a mechanism whereby distances are drawn but simultaneously suppressed. This collapse and/or extension of space destabilizes the position of the body such that scale and orientation are also put into question.
I see objects that hide each other and that consequently I do not see; each one stands behind the other. I see depth and yet it is not visible, since it is reckoned from our bodies to things, and we are [as Cartesians] confined to our bodies. There is no real mystery here. I do not really see depth or, if I do, it is only another size. On the line from my eyes to the horizon, the foreground forever hides all the other planes, and if on either side I think I see things staggered at intervals, it is because they do not completely hide each other. Thus I see each thing outside the others, according to a width measured differently. We are [as Cartesians] always on the hither side of depth, or beyond it. It is never the case that things really are one behind the other.
Eye and Mind, Maurice Merleau Ponty
mental image. 2 9
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10
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3. 2. 1.
4.
5.
6.
1. original action 2. mental image formed 3. movement of body 4. mental image formed 5. movement of body 6. overlap/doubling of the frame between the foreground and background. Subsequent collapse/expansion of the spatial construct
spatial mapping - applying scale to the mental construct 11
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May 2011
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no frame 14
May 2011
THE FRAME of the hoarding mirrors the scale, materials and verticality of the building across the street.
Within the doubled frame, the building appears closer, equally a part of my foreground as it is in the distance.
frame 15
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the frame(s) within 16
May 2011
the frame(s) within 17
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18
May 2011
ESTAbLiSHinG SiTE/SiGHT
Having established the frame as a key driver in developing spatial and visual distortions, further study is extended into a site model at 1:50. SCALE - The site model accommodates viewing and inhabitation at 1:1 such that the existing/proposed architecture can be tested in relation to sites of interest at 1:50.
a view from here 19
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20
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a view from here 21
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shifting focus 22
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Collapse/Expansion - In framing a scene within a given space and time, the photographic image captures and collapses distant objects into a single image/plane. Placed back into a three dimensional context, the images (pictured both in and out of context above) project/collapse their foregrounded objects (cars, garbage bins, etc...) at a distorted scale and distance in relation to the model. While the process
in which the objects were photographed is perceivable, once given a physical presence in the model, the objects waver between two and three dimensions. They shift between collapse in the image and expansion in an imagined space on the street.
shifting focus 23
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1:50 site model and custom viewing table 24
May 2011
1:50 site model and custom viewing table 25
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custom viewing table - construction details 26
May 2011
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May 2011
The table is designed and built to be adjustable in height. At 33 the table sits at working height to accommodate the needs of a studio environment and limited working space. To this end when working space is needed, the holes in the table top are filled in with fitted acrylic panels. Raised to 5 the site model is viewed by an observer at a comfortable standing height for ease of movement and investigation.
Each leg section consists of an outer hollow shell with a telescoping inner leg. The outer section attaches to the base for stability while the inner leg is free to move up and down with the mounted table top.
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2nD FLOOR
1ST FLOOR
n W S E
bACk LAnE
existing plans 30
May 2011
iniTiAL DESiGnS
construction hoarding
WiLLiAM AvE
existing storefront
pRinCESS ST
proposed 2nd floor extension
new residential entrance
bACk LAnE
inTEnDED pROGRAM - The building is engaged as a live/work space for a dj and his partner. Activated through their daily inhabitations and frequent social gatherings, the intended program is both extremely private and public in nature. The 1st floor, with its existing glass storefront on William Ave, remains programmed as a store/public space. The djs music collection is displayed in this area and shared with the public for listening and possible sale or ordering from other sources. A new residential entrance is opened out onto the back lane with access to 2nd floor living quarters and shared social/studio space. THEMES - The frame is used to activate programmatic and narrative boundaries between what is hidden and/or revealed in the depths of the building. Views are established to confuse these depths, such that the true dimensions of the building and its private spaces go unnoticed to the path and perception of temporary visitors. Sectional perspectives are used to further the themes of what can be seen and/or revealed in a drawing set.
the site 31
284 WiLLiAM AvE
kinG ST
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the back lane - existing facade 32
May 2011
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the back lane 34
May 2011
a new entrance 35
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May 2011
bACk LAnE
a new entrance 37
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38
May 2011
bACk LAnE
iniTiAL DESiGnS - are focused on the record collection, how to store and display the records, and create a focal point with the display using principles discovered in the study of the front facade: depth between collapse and expansion, the framing and doubling of reflected materials and shadow.
a new entrance - early plans 39
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On, collecting and the connection between house and objects 40
May 2011
A small box of precious objects/items of personal value, when catalogued, reveals the intimate relationship between a collection and the collectors interests and connections to material things. Perhaps most interesting are the stories that can be woven temporally and thematically between certain objects; for though some are randomly connected, themes emerge that speak to what is important to the collector and by extension, to what they desire in their most intimate connections to people and places. As a personal space, the house is embedded with rituals of intimacy, contingent upon how and why a person relates to
their objects of private pleasure and habit. A single story is drawn from my own collection of objects; speaking of a love with great depth, and yet contained and distant from all others. The story is loosely applied in spatial terms to the narrative and needs of the dj housed in the project. Narrative application broadens the design process, not to directly influence how the djs record collection is displayed, but to reconsider how he relates to his most private of places in the house.
On, collecting and the connection between house and objects 41
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material investigations; viewing transparency and depth through layering 42
May 2011
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bACk LAnE
May 2011
ExiSTinG STOREFROnT
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bACk LAnE
May 2011
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May 2011
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testing the view; gaps between vision and mobility 50
May 2011
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May 2011
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south east axonometric - view from the back lane. 10 a.m. 54
May 2011
THE FinAL pROpOSAL
The frame is used to de-center the self, to provoke the question Where am I? instead of Who am I?. To this end, the space is never understood as a single entity or through a single totalizing view. It is one of interruption, overlap, and hidden depths, never whole, except in its animation by multiple subjects and multiple viewpoints. When the frame is mirrored between the foreground and
the distance there is a doubling of the subject/object such that their shared space is collapsed and extended into an unknowable depth. Interruptions are discovered upon moving through the space such that the gap between vision and mobility is programmatically charged and questioned in a dichotomy of private/public actions.
south facing facade - view from the back lane. 10 a.m. 55
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56
May 2011
main stairs to 2nd floor apt.
residential entrance
looking north, sectional perspective. noon 57
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looking west, residential entrance. 12:45 p.m. 58
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looking north, main access to the 2nd floor. 1:30 p.m. 59
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60
May 2011
looking north, sectional perspective. 2:00 p.m. 61
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moving south, 2:30 p.m. 62
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moving south, 3:00 p.m. 63
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residential entrance
SECTiOn, nOOn
main access to 2nd floor apt.
RAiSED MEZZAninE LEvEL
secret door
SkyLiGHT AbOvE
64
May 2011
record store/library display 1st floor record store/library
public entrance to the
secondary access to the 2nd floor
record store/library
private entrance to the mezzanine level sitting area for private resident
private apt.
A new level is inserted between the 1st and 2nd floors. Housing a second private apt., the space is accessed from the front entrance. Running adjacent to most of the eastern outer wall, the new apt. boundary is designed to look like an extension of the building next door.
new mezzanine level, plan. 3:00 p.m. 65
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2nd floor, perspective plan. 3:20 p.m. 66
May 2011
looking northwest, social/living. 3:40 p.m. 67
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68
May 2011
looking west, sectional perspective. 4:00 p.m. 69
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2nd floor, perspective plan. 4:30 p.m. 70
May 2011
looking north, 1st outer view of the doubled wall. 4:45 p.m. 71
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outdoor living space - garden
1st outer view of the doubled wall
social/living - studio/work space
raised public/private washrooms
door
section, 4 p.m.
72
SkyLiGHT AbOvE
section, 6 p.m.
section, 2 p.m.
May 2011
outdoor living space hot tub
reflecting pool 2nd outer view of the doubled wall secret door/drop down bridge to hidden meditation room view to reflecting pool bedroom door
door
door outdoor patio and smoking area
hidden meditation room -
SkyLiGHT AbOvE
door
door
SkyLiGHT AbOvE
2nd floor, plan. 5:00 p.m. 73
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74
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rooftop extension, perspective plan. 6:30 76
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looking north, kitchen/dining area. 7:00 p.m. 77
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section, midnight
social/living - view to the inner garden
door
section, 10 p.m.
door
social/living - kitchen/dining area
outdoor living space - garden
section, 8 p.m.
78
SkyLiGHT
May 2011
outer hallway
door
social/living - studio/work space bedroom
outdoor living space hot tub
dj booth section, 4 a.m.
SkyLiGHT
SkyLiGHT
outdoor patio and smoking area
SkyLiGHT
2nd floor rooftop extension, plan. 7:30 p.m. 79
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80
May 2011
looking west, sectional perspective. 8:00 p.m. 81
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82
May 2011
looking east from the adjacent building. 8:30 p.m. 83
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84
May 2011
looking east from the adjacent building. 9:00 p.m. 85
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May 2011
looking north, social/living - outer hallway. 11:00 p.m. 87
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88
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looking east, sectional perspective. midnight 89
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looking south, 2nd outer view of the doubled wall. 4:00 a.m. 90
May 2011
looking south, sectional perspective. 4 a.m. 91
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north elevation 92
May 2011
north facing facade - view from William Ave. 8 a.m 93
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2nd viewing
looking south, vision. 2 94
May 2011
THE HiDDEn ROOM; bETWEEn viSiOn AnD MObiLiTy
1st viewing
looking north, vision. 1 95
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mobility 96
May 2011
97
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re-framing mental image. 1 98
May 2011
APPENDIx A: REVISITING THE GAP
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May 2011
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the gap revealed 102
May 2011
the gap revealed 103
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104
May 2011
105
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106

Thesis Final Hard Cover

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May 2011

THE HOUSE OF GLAnCES*

Text excerpts from The House of Glances a poem by Octavio Paz 1

the house of glances*

in, THE HOUSE OF GLAnCES

CiTinG inTEnT SiGHTinG inTEnT

THE FinAL pROpOSAL

57 59 63 67 71 73 75 77 81 83 88 91 93 94 96 97 98 100 102 104

the house of glances*

the doubled frame, depth perception, and spatial construct 5

the house of glances*

the house of glances*

Eye and Mind, Maurice Merleau Ponty

the house of glances*

spatial mapping - applying scale to the mental construct 11

the house of glances*

spatial mapping - applying scale to the mental construct 12

spatial mapping - applying scale to the mental construct 13

the house of glances*

the house of glances*

the frame(s) within 16

the frame(s) within 17

the house of glances*

the house of glances*

a view from here 21

the house of glances*

the house of glances*

1:50 site model and custom viewing table 24

1:50 site model and custom viewing table 25

the house of glances*

custom viewing table - construction details 26

custom viewing table - construction details 27

the house of glances*

custom viewing table - construction details 28

custom viewing table - construction details 29

the house of glances*

proposed 2nd floor extension

new residential entrance

284 WiLLiAM AvE

the house of glances*

the back lane - existing facade 32

the back lane - existing facade 33

the house of glances*

the back lane 34

the house of glances*

the back lane - existing facade 36

the house of glances*

a new entrance - early plans 39

the house of glances*

On, collecting and the connection between house and objects 40

On, collecting and the connection between house and objects 41

the house of glances*

material investigations; viewing transparency and depth through layering 42

material investigations; viewing transparency and depth through layering 43

the house of glances*

material investigations; viewing transparency and depth through layering 44

material investigations; viewing transparency and depth through layering 45

the house of glances*

material investigations; viewing transparency and depth through layering 46

material investigations; viewing transparency and depth through layering 47

the house of glances*

material investigations; viewing transparency and depth through layering 48

material investigations; viewing transparency and depth through layering 49