otherness & enoughness
master of architecture thesis, 2023
Architecture, experienced by the public, isn’t given words to explain itself. It is experienced by each individual, in their own way, through two main avenues: function and aesthetic.
Western modern architecture has shown a pervasive focus on function, at a loss of valuing aesthetic and feeling. Referential forms are often neglected in the same way that community and connection are deprioritized, valuing instead independence and individuality. Order and rationality are forefront, leaving little room for the unavoidable inconsistencies of life.
As an aesthetic composed of familiarities and incongruities, the aesthetic of otherness and enoughness has emerged numerous times throughout history in response to modernity. Seen in mannerism, dadaism, and postmodernism, the aesthetic of otherness and enoughness signals a return to community and connection, and a longing for the capacity to process the unavoidable tragedies and mishaps of life.
This thesis was a valuing of aesthetic, finding that concept is a feeling, and aesthetic is the uninhibited expression of said feeling, free of any imposition of literalness or practicality.
Feeling is derived from lived experience, and aesthetic is an expression of the lived experience. The design portion of this thesis was a practice of following a feeling, allowing it to shape and create the above series of ten images.
The process of producing an aesthetic form of otherness and enoughness began with a chosen site and program.
The site shifted and programming shrunk. What was found with the new, smaller site was a collection of mundane, architectural forms pulled from its surrounding mundane neighbourhood. Doors, handrails, shingles.
Site then disappeared, as did programming, allowing the project to focus on an exploration of mundane forms, expanding to doors, walls, windows, columns.
Through modelling, forms were iterated upon, bringing about instances of formal expression that embodied the aesthetic of otherness and enoughness.
Through photographing, the resulting formal aesthetic is summarized in a series of 10 images.
The process of producing an aesthetic form of otherness and enoughness began logical, intentional, and rational.
Gradually, ever increasingly, intention made way for curiosity.
Iterations became play. Free association became a friend. Enjoyment became priority. Allowing took place of forcing and relaxing took place of stressing.
Work became unprecious. Process became mess. Time constraints prohibited overthinking.
Iterations followed feeling.
Through photographing, the resulting formal aesthetic is summarized in a series of 10 images.
