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Leaving room : on memory and paper modelling Jung, Arnold Bodeuk 2020-12

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Leaving Roomon memory and paper modellingA graduation project by Arnold Bodeuk Jungwith Bill Pechet (chair), Thena Tak, Sara Stevens, Vincent Perron© 2020HBSc Psychology & Cognitive Science, University of Toronto, 2015Submitted in partial fulfillment of the requirements for the degree of Master of Architecture in The Faculty of Graduate Studies, School of Architecture and Landscape Architecture, Architecture Programii iiiFront Matter Leaving Room fig 1.)    Photograph, Waking up in the same room, 20/11/18iv vFront Matter Leaving RoomFront MatterContentsPart one Part Two Archive 83 Bibliography 985Table of Contents ivList of Figures viAbstract  xivWaking Thoughts xviGratitude xviiiStatement of Intent 1Report 4Syllabus 53Bedsheet Studies 58Presentation One 65Presentation Two 66 Presentation Three 70Presentation Final 71vi viiFront Matter Leaving RoomList of Figures (fig 1.)    Photograph, Waking up in the same room, 20/11/18 ii (fig 2.)    Foreword by Richard Kearney to Bachelard’s Poetics of Space xv (fig 3.)    Photograph, I smell coffee, 20/11/18 xix (fig 4.)    GP1 Statement of Intent, 20/01/03  1 (fig 5.)    GP1 Report, cover, 20/05/01  4 (fig 6.)    GP1 Report, pg 0-1, 20/05/01 5 (fig 7.)    GP1 Report, pg 2-3, 20/05/01 7 (fig 8.)    GP1 Report, pg 4-5, 20/05/01 9 (fig 9.)    GP1 Report, pg 6-7, 20/05/01 11 (fig 10.)    GP1 Report, pg 8-9, 20/05/01 13 (fig 11.)    GP1 Report, pg 10-11, 20/05/01 15 (fig 12.)    GP1 Report, pg 12-13, 20/05/01  17 (fig 13.)    GP1 Report, pg 14-15, 20/05/01 19 (fig 14.)    GP1 Report, pg 16-17, 20/05/01  21 (fig 15.)    GP1 Report, pg 18-19, 20/05/01  23 (fig 16.)    GP1 Report, pg 20-21, 20/05/01 25 (fig 17.)    GP1 Report, pg 22-23, 20/05/01 27 (fig 18.)    GP1 Report, pg 24-25, 20/05/01 29 (fig 19.)    GP1 Report, pg 26-27, 20/05/01 31 (fig 20.)    GP1 Report, pg 28-29, 20/05/01 33 (fig 21.)    GP1 Report, pg 30-31, 20/05/01 35 (fig 22.)    GP1 Report, pg 32-33, 20/05/01  37 (fig 23.)    GP1 Report, pg 34-35, 20/05/01 39 (fig 24.)    GP1 Report, pg 36-37, 20/05/01 41 (fig 25.)    GP1 Report, pg 38-39, 20/05/01 43 (fig 26.)    GP1 Report, pg 40-41, 20/05/01 45 (fig 27.)    GP1 Report, pg 42-43, 20/05/01 47 (fig 28.)    GP1 Report, pg 44-45, 20/05/01 49 (fig 29.)    GP1 Report, pg 46-47, 20/05/01 51 (fig 30.)    GP2 Syllabus, 20/09/04 53 (fig 31.)    Sketch, Towards a Feeling, 20/09/09  54 (fig 32.)    Photographs, Bedsheet Studies, 20/09/09 55 (fig 33.)    Photographs, Bedsheet Studies, 20/09/10 56 (fig 34.)    Photographs, Bedsheet Studies, 20/09/09 57 (fig 35.)    Photographs, Bedsheet Studies, 20/09/10 58 (fig 36.)    Photograph, Gridded Bedsheet Studies, 20/09/13  59 (fig 37.)    Photographs, Gridded Bedsheet Studies, 20/09/13  60 (fig 38.)    Photograph, Gridded Bedsheet Studies, 20/09/13  61 (fig 39.)    Photograph, Bedsheet Cathedral, 20/09/14  62 (fig 40.)    Cutouts Library, 0.2x scaled 63 (fig 41.)    Slides, Committee Meeting, 20/10/05 65 (fig 42.)    Slides, Midterm, 1 of 4, 20/10/19 66 (fig 43.)    Slides, Midterm, 2 of 4, 20/10/19 67 (fig 44.)    Slides, Midterm, 3 of 4, 20/10/19 68 (fig 45.)    Slides, Midterm, 4 of 4, 20/10/19 69 (fig 46.)    Slides, Committee Meeting, 20/11/02 70 (fig 47.)    Grid of photos with selection, 20/12/12 72 (fig 48.)    Slides, Final Review, 1 of 4, 20/12/16 73 (fig 49.)    Slides, Final Review, 2 of 4, 20/12/16 75 (fig 50.)    Slides, Final Review, 3 of 4, 20/12/16 77 (fig 51.)    Slides, Final Review, 4 of 4, 20/12/16 79 (fig 52.)    Screenshot, Final Review, 20/12/16 82 (fig 53.)    Image of the Room 83 (fig 54.)      85 (fig 55.)      86 (fig 56.)      87 (fig 57.)      88 (fig 58.)      89 (fig 59.)      90 (fig 60.)      91 (fig 61.)      92 (fig 62.)      93 (fig 63.)      94 (fig 64.)      95 (fig 65.)      96 (fig 66.)      97 (fig 67.)      98 (fig 68.)      99 (fig 69.)      100 (fig 70.)      101 (fig 71.)      102 (fig 72.)      103 (fig 73.)      104 (fig 74.)      105 (fig 75.)      106 (fig 76.)      107 (fig 77.)      108 (fig 78.)      109 (fig 79.)      110 (fig 80.)      111 (fig 81.)      112 (fig 82.)      113 (fig 83.)      114 (fig 84.)      115 (fig 85.)      116 (fig 86.)      117 (fig 87.)      118 (fig 88.)      119 (fig 89.)      120 (fig 90.)      121 (fig 91.)      122 (fig 92.)      123 (fig 93.)      124 (fig 94.)      125 (fig 95.)      126 (fig 96.)      127 (fig 97.)      128 (fig 98.)      129 (fig 99.)      130 (fig 100.)      131 (fig 101.)      132 (fig 102.)      133 (fig 103.)      134 (fig 104.)      135 (fig 105.)      136 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406 Image 407 Image 408 Image 409 Image 410 Image 411 Image 412 Image 413 Image 414 Image 415 Image 416 Image 417 Image 418 Image 419 Image 420 Image 421 Image 422 Image 423 Image 424 Image 425 Image 426 Image 427 Image 428 Image 429 Image 430 Image 431 Image 432 Image 433 Image 434 Image 435 Image 436 Image 437 Image 438 Image 439 Image 440 Image 441 Image 442 Image 443 Image 444 Image 445 Image 446 Image 447 Image 448 Image 449 Image 450 Image 451 Image 452 Image 453 Image 454 Image 455 Image 456 Image 457 Image 458 Image 459 Image 460 Image 461 Image 462 Image 463 Image 464 Image 465 Image 466 Image 467 Image 468 Image 469 Image 470 Image 471 Image 472 Image 473 Image 474 Image 475 Image 476 Image 477 Image 478 Image 479 Image 480 Image 481 Image 482 Image 483 Image 484 Image 485 Image 486 Image 487 Image 488 Image 489 Image 490 Image 491 Image 492 Image 493 Image 494 Image 495 Image 496 Image 497 Image 498 Image 499 Image 500 Image 501 Image 502 Image 503 x xiFront Matter Leaving 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Foreword by Richard Kearney to Bachelard’s Poetics of SpaceAbstractStuck indoors, we have been forced to reacquaint ourselves with the spaces inside our homes. This thesis looks to the vastness of a small room as a means for escape.1______1  It is December 2020 and we are nine months into a lockdown due to the COVID-19 pandemicxvi xviiFront Matter Leaving RoomThus, the task of facing my own interior space began by waking and willfully remaining in my room. By choosing to measure and model the room and its contents, the act of willfully remaining evolved into a simple but painful cultivation of awareness.3 An awareness that afforded me escape. Photography doubles the architectural model’s power to harness awareness by mirroring the slowness of construction, in its consumption. By imaging and reimaging the room, the work looks to a dimly lit basement suite for what Bachelard alludes to as “the immense in the most intimate of things.” Through the simple act of making, the project is ultimately a meditation on learning how to make being here enough,4  by looking to the vastness of a small room as a means for escape. ______2 3 Bachelard, Gaston, and Richard Kearney. In The Poetics of Space. London: Penguin Classics, 2014.  xviii Grudin, Robert. Time and the Art of Living. Mariner Books, 1982. 4 “As we grow older we wish more and more to be young again, to return to youth with the wisdom of age, or failing this, to get back to it any old way. We characteristically ignore a much more feasible kind of chronological magic - making present time slow its pace. For one must love life indeed, in all its miscellaneous fullness, in order to hanker that its smallnesses, its very dimples and indentations, be lengthened for one’s pleasure. To wish such a thing is, in effect, to begin to do it; and to do it is to enlarge life immeasurably. One should think first of all of the present, not as a moving point or as a thin film through which one faces a parade of concerns, but rather as a kind of chamber, a voluminous dimension in which thoughts and actions and affections can develop undisturbed.”Horn, Roni. Making Being Here Enough: Installations from 1980 to 1995. Basel: Kunsthalle, 1995. “I don’t want to read. I don’t want to write. I don’t want to do anything but be here. Doing something will take me away from being here. I want to make being here enough. Maybe it’s already enough. I won’t have to invent enough. I’ll be here and I won’t do anything and this place will be here, but I won’t do anything to it. I’ll just let it be here. And maybe because I’m here and because the me in what’s here makes what’s here different, maybe that will be enough, maybe that will be what I’m after. But I’m not sure. I’m not sure I’ll be able to perceive the difference. How will I perceive it? I need to find a way to make my-self absolutely not here but still be able to be here to know the difference. I need to experience the difference between being here and not changing here, and being here and changing here...”Waking ThoughtsIn the foreword to Penguin Classic’s 2014 reprint of Bachelard’s Poetics of Space, philosopher Richard Kearney writes, “Now more than ever we have need for intimacy, secrets, sites of interiority and contemplation. Without such nooks and crannies to muse and mope, to linger and loiter, there is nowhere to begin anew. No place for rapt attention. Amidst our culture of broadcast and bigness, Bachelard recommends that we rediscover the immense in the most intimate of things. In a world where so many places of work and habitation are featureless, climate controlled and quarantined against surprise, Bachelard shows us ways of dwelling again in the flesh of space, of dreaming our homes as nests and shells, of reimaging hidden gardens and caverns where we can delve back into a world of natality, newness, and beginning.”12With the global pandemic this past year forcing all of us inside, Bachelard’s words resonate with us even more truly. Stuck indoors we have been forced to reacquaint ourselves with the spaces inside our homes, or in his words, “to dwell again in the flesh of space.” This task of familiarizing myself with my own space, initially meant waking up and realizing there wasn’t another place I had to be. To sleep again, or rather, to try to escape again, I would soon find myself waking up in the same room I attempted to leave just moments prior. xviii xixFront Matter Leaving RoomGratitudeThank you Bill for providing the space for me to exploreThank you Thena for how can I even beginThank you Sara for asking the tough questionsThank you Vinc for bravely going there firstThank you to my family, to my friendsThank you Lisa fig 3.)    Photograph, I smell coffee, 20/11/181 2Part One Leaving Room Fig 1. Author, Material Studies in Models  -  Model making as Process  and also,  Time  By Arnold Jung   Field of Inquiry  This investigation configures architecture as fundamentally a spatial and material practice that aims at building. Building is understood as both architecture’s aim - the noun, the creation - and architecture’s act - the verb, the creative process. Whereas architecture, like adjacent creative practices, regards model making as an important tool in the design process, a struggle unique to the architectural process is scale. Working at one to one, while taken for granted in design practices like industrial design, graphic design, and fashion, is instead achieved either in fragment or forgone completely in architecture. Reality is instead conceived of in miniature. Architectural models elicit active experiencing, challenging the imagination to constantly jump scale.  “A model is a drawing that was brave enough.” - Unknown   In practice, physical models are usually employed at the end of the design process and are seldom used extensively in the design process. This can be attributed to material waste, cost, complexity, but ultimately owes itself to the fundamental slowness of the hand. Model making is a slow process, fundamentally slower than drawing, and digital fabrication tools that may speed up the process, still defer to the hand in model assembly.   Barring constructing the building itself at one to one, the architectural model best approximates the final building or idea. Unlike architectural drawings, which are accessible only by those who can read them, the architectural model is a mode of representing that is accessible by everyone. Everyone can understand a model.  fig 4.)    GP1 Statement of Intent, 20/01/03  Model making necessarily involves and begins with materiality, even if materials exist as stand-ins and are not exactly what one wants it to be. Furthermore as models are 3d dimensional and thus necessarily spatial, and so model-making as a spatial and material tool, theoretically figures as the most appropriate analog for architectural practice.   Architectural Issues  This is a serious investigation into model making as a process, an attempt to mine the architectural model as a generative tool to design.   And also, insofar as the architectural project aims at building(v.), model making will be used to anticipate, incorporate, and anticipate temporality in the architectural project.  Approach, Methodology  Find proxy/vessel for investigation. Make a shit ton of models exploring form and materiality.  Schedule Week 1  Week 2 - 4  Week 4 - 6  Week 6 - 8  Week 9 - 10  Week 10 - 12  Week 13 - 14 Find a vessel of exploration  Research on Temporality, Materials Selection  Material Explorations, Wide  Material Explorations, Narrow  Material Explorations + Time   Material Explorations + Drawing  Write Appendix C  Continuation to GPII   Understanding that the philosophical debates and trans-disciplinary ideas that are incidental to the field of architecture ultimately arise out of the elemental decisions in form and material, GPII will background the spatial and material findings of GPI, while foregrounding the representation of an architectural project rendered through time.   Precedents(4) 3 4Part One Leaving Roompersonal space fig 5.)    GP1 Report, cover, 20/05/01 Report5 6Part One Leaving Room fig 6.)    GP1 Report, pg 0-1, 20/05/011personal spaceorzoom in the time of zoomorlittle bitsorpillowsorwhat is this, a thesis for ants?orlook at my shit!or“Art exists to help us recover the sensation of life; it exists to make us feel things, to make the stone stony. The end of art is to give a sensation of the object seen, not as recognized. The technique of art is to make things ‘unfamiliar,’ to make forms obscure, so as to increase the difficulty and the duration of perception. The act of perception in art is an end in itself and must be prolonged. In art, it is our experience of the process of construction that counts, not the finished product.” - Victor Shklovsky7 8Part One Leaving Room fig 7.)    GP1 Report, pg 2-3, 20/05/0132On March 15th, architects retreated to the interior. Schools emptied out, shops deemed ‘non-essential’ shuttered up, and public spaces previously bubbling with people became designated no-go zones. If a retreat connotes a kind of return to what is familiar, then it might be more apt to say that it was on this day that we were forced indoors, faced abruptly with the daunting task of establishing routine and acquainting ourselves with the spaces within our own homes. The task of familiarizing myself with my own room initially meant waking up and realizing there wasn’t another place I had to be. To sleep again or rather, to try to escape again, I would soon find myself waking up in the same room I had attempted to leave just a moment prior. Thus, the task of facing my own interior space began with waking and willfully remaining within the room. This designated the bed, the eponymous object of the room, as a threshold, much like the thresholds of the window and the door. And in the act of waking up I found that the material edge of the bed, which ostensibly seperated the spaces of sleep and of waking life, approximated rather than articulated an actual edge. Actually waking up required crossing this  other immaterial edge, which on some days I would find as far as four or five feet away from the cozy comforts of my bed.  fig 1. from the doorway, my bedroom in the early afternoonIntroduction9 10Part One Leaving Room fig 8.)    GP1 Report, pg 4-5, 20/05/0154 fig 2. a horizontal window, at eye level, connects my room to the outdoorsAnalogously, the project is an attempt to determine the edges of things and the nature of the spaces delineated by them. By discovering and modelling the edges of space, the limits of my self, the project attempts to open itself up to a way of seeing that may be akin to the act of waking up. As an architectural project, the work is interested in the interior - the former half of the familiar binaries of inside versus outside and here as opposed to there. The topic of the interior does come up in architectural conversation; however, responsibility for it is usually surrendered to artists and interior designers. Why is this? Is it that for a historically masculine occupation, the interior represented a feminine space, whose very maintenance and furnishing was traditionally ascribed to the domestic responsibilities of women? Or, is it the difficulty of its physical description, as Mohsen Mostafavi offers, “the external view of a building provides the image of a totality, an image that in its flatness is easier to comprehend than one of the interior?” Or is it the temporal complexities like setting and situation that the interior necessarily implies, variables that can only be understood in part but never fully anticipated in their range of spontaneity and serendipity? In addition to these ideas, it is also perhaps interiority’s surrogates, privacy and intimacy, that make the interior especially resistant to study.The interior11 12Part One Leaving Room76 fig 3. this corner is where I set up my work place, wedged beside a defunct electric fireplaceOf the spaces within a home, it is probably the bedroom that can be regarded as the most interior of them all. Usually found at the proverbial ‘back of house’, the bedroom is the space where one is out of sight to freely live out their most private inner life. A space where one can be alone in self reflection, the bedroom is also the space where one is arguably the most vulnerable - if not willfullingly, but by sheer virtue of the fact that it is where one sleeps and spends most of their unconscious time. As an unconscious space, a bedroom can reveal a lot about a person. From the objects, furnishings, and decor (whether inherited or acquired), to their peculiarities, placement, and status, the things found within ‘a room of one’s own’ can hint at identity, taste, and even state of mind. More intrinsic and immutable components of a room like the placement of a window or the material of the floor, also have psychological implications, affecting behavior, habit, and mood, and as a result, exist as yet another register of the person that calls the room their own. It is not surprising then to discover that psychotherapists recommend cleaning one’s room as an initial step towards transforming one’s psyche. This advice supports the view that the room is actually an extension of the self, and organizing the room is analogous to organizing one’s ‘field of being.’ Thus, if attuning my own attention to the interior can be framed as an transformative act, then there is hope that introspection can offer relief from the habituated and familiar, awakening us all to recover the sensation of life.  The bedroom fig 9.)    GP1 Report, pg 6-7, 20/05/0113 14Part One Leaving Room fig 10.)    GP1 Report, pg 8-9, 20/05/0198I began my observational exercise by making miniaturized models of the contents of my room. Taking the time to measure and record each object’s qualities, model-making led me into a slow and meditative process that could elicit moments of insight and uncanny. In this observational process, an object once familiar would become strange and even new as if I were experiencing the joy of seeing it for the first time. Additionally, minaturizing each object is akin to an act of translation, where the material qualities of each object, like texture, translucency, and reflectivity, sought their imperfect analog in a new medium. With paper as the material of translation, the work is aligned with the papercraft traditions of origami. Hanji (paper making) traditions give us access to an array of material options of paper itself that approximate a range of material qualities. Importantly, it is the thinness of paper that makes translation possible. The volumetric objects are distilled down to their discrete surfaces to be scaled and reproduced through simple creases and folds. As a result, translation becomes an act of invention wherein the tectonics of things must first be deciphered to then be reimagined in service of assembling them anew.Displacing the objects from the bedroom allows for an individual appreciation of the objects. Rearranged in a field from biggest to smallest, the objects are neutered of their previous spatial relationships to allow for new emergent relationships to be formed. Curiously, when taken together as a collective, the objects seem to recall a memory of a greater room. Their relative sizes allude to the size of the container they must have come from, and their colours, forms, and textures evoke the character of that space, even intimating at an individual to whom that space belonged.fig 4. (table of) contentsThe contents15 16Part One Leaving Room fig 11.)    GP1 Report, pg 10-11, 20/05/011110Insofar that a room is not a room without its walls, a bedroom is not without its bed. This holds true to the extent that the mere presence of a bed can suggest a bedroom. Many living spaces previously undesignated for sleeping (much like my own) have been transformed and declared private through the innocuous inclusion of the bed. Beds placed in other spaces have a similar effect. In Eternal Sunshine of the Spotless Mind a bed is staged on a snow covered beach, rendering the beach as a private extension of the individual’s mind. The presence of the bed on these pages similarly transforms and claims the white of the pages into a space of the bed. By beginning the investigation with the bed, the project is deliberately born out of a place of the unconscious. Additionally, by declaring the bed as the starting point, the project finds itself at the tenuous edge of what distinguishes an object from architecture. The bed, as an object, is likely one of the largest and most costly pieces of furniture one owns. And like architecture, the bed takes up space, can transform space, and thereby has spatial implications on our body and behavior. The sheer size of the bed relative to our body alone helps it fulfill conventionally architectural functions like shelter, safety, and comfort. The metaphysical function of the bed as a portal to our dream worlds and conversely a threshold back into our waking state, elevates it once again from mere object to the realm of architecture. By beginning with the bed and gradually moving to smaller and smaller objects, the edge of what differentiates objects from architecture is also questioned. This collection and presentation of objects hopes to expand our definition of what is architectural and challenge us to reframe the way in which we see space all around us.  fig 5. my bedThe bed17 18Part One Leaving Room fig 12.)    GP1 Report, pg 12-13, 20/05/01 1312fig 6. wooden clothing rack, fits 20 hangers comfortably fig 7. linen dress shirt from uniqlo that I got from my momfig 8. blue overcoat from gap that I only wear in the fallfig 9. the quintessential black t-shirt that all designers must ownThe objects19 20Part One Leaving Room fig 13.)    GP1 Report, pg 14-15, 20/05/011514fig 10. my favorite blue collared shirt that makes me look smart-casualfig 11. thick collarless cotton shirt from muji that I try to wear to appear more professional infront of my studentsfig 12. one too many blue shirts fig 13. my desk, a ‘fixed’ drafting table that keeps tilting on me21 22Part One Leaving Room fig 14.)    GP1 Report, pg 16-17, 20/05/01 1716fig 16. wooden shelf that tucks conveniently under my desk, it holds my model making materialsfig 17. steelcase uno chair that I found in our garage, its original owner is probably long gonefig 18. three black drÖna boxes from ikea, which hold all my overflow of clothesfig 19. scrap plywood that I wedged under my desk to extend my workspace23 24Part One Leaving Room fig 15.)    GP1 Report, pg 18-19, 20/05/01 1918fig 20. my trusty cutting mat that often gets lost under all my crapfig 21. 27” widescreen monitor that feels like two monitors in onefig 22. my secret paper cutting machine that frees me from having to book a lasercutter appointment ever againfig 23. blue led lamp, my bright spotlightfig 24. black halogen lamp, my warm worklightfig 25. twine with clothes pins, that used to hang photographs belonging to the previous owner of my room25 26Part One Leaving Room fig 16.)    GP1 Report, pg 20-21, 20/05/012120fig 26. clothes hangers, several can be found on the ground at any given timefig 27. 12”x12” light grip cutting mat for my cutting machinefig 27. amazon box carrying most of my scrap pieces of paperfig 28. my fragile laptop that I can count on to fail me any given dayfig 29. h-mart grocery bag, living out its second life as a trash bag27 28Part One Leaving Room fig 17.)    GP1 Report, pg 22-23, 20/05/012322fig 31. 12” x 12” fabric grip cutting mat fig 32. trace paper with notes I want to put into my journalfig 33. loose sheets of printer paper that also have notes that I need compilefig 34. smlxl, this one was on sale at the vag bookstore ($5!)fig 35. the other half of my monitor stand fig 36. hdmi cable29 30Part One Leaving Room fig 18.)    GP1 Report, pg 24-25, 20/05/012524fig 37. the sheet of paper currently on my desk that is capturing all my sporadic thoughts fig 38. my anne pro 2 mechanical bluetooth keyboard! The key switches feel responsive and clicky, without being too loudfig 39. my laptop stand that I rummaged from the free material section in lasserrefig 40. black moleskin notebook that still has several blank pages available to fillfig 41. blank yellow leuchtturm notebook with dotted grid paper. I prefer plainfig 42. vince’s gp1 book31 32Part One Leaving Room fig 19.)    GP1 Report, pg 26-27, 20/05/012726fig 43. muji notebook. While I like how affordable it is, I don’t like how it doesn’t open up flat. fig 44. midori plain notebook, probably the best notebook ever madefig 45. night on cold mountain, larry poons (1962)fig 46. loose selection of pens that found their way on to my desk: copics, prismas, pilots, sharpies, and a single red staedtler lumocolorfig 47. tong garden’s freshly roasted wasabi coated green peas, the best work snack because they wake you up and you really can’t have too much of themfig 48. my grey canvas pencil case, which I’m afraid to open in fear its filled with pencil shavings33 34Part One Leaving Room fig 20.)    GP1 Report, pg 28-29, 20/05/012928fig 49. black amsterdam acrylic spraypaint, a disappointing deserres brandfig 50. golden chrome sabotaz spraypaint, since the label has skulls and crossbones, we’re not allow to use this version in lasserrefig 51. 1tb seagate external harddrive, an amazon retail therapy purchase from a couple weeks back. fig 52. a w faber castell polychromos color pencilcrayons: Feinste und best Qualität, sortiert in 12 Farbenfig 53. a6 muji notebook, recently replaced by the notepad app in my phonefig 54. usb-c charging cable35 36Part One Leaving Room fig 21.)    GP1 Report, pg 30-31, 20/05/013130fig 55. 18” stainless steel westcott ruler, an essential fig 56. metric scale ruler in 1:20, 1:25, 1:50, 1:75, 1:100, and 1:125. not as essential fig 57. piece of cardboard that doubles as a mousepad fig 58. ziploc bag with a spool of orange and red threadfig 59. 6” stainless steel nobel ruler. I like this ruler so much that I’ve bought three of them (and lost two), its zero is offset by about a millimeter from its edge. fig 60. ikea tea cup, wide brim with a thin lip, for when I want my tea to cool down faster37 38Part One Leaving Room fig 22.)    GP1 Report, pg 32-33, 20/05/01 3332fig 61. a favorite cup of mine whose brim curls open ever so slightly, medium lip, has the word china stamped on its bottomfig 62. a toothbrush holder that fits my hand perfectly as if it were a tea cup, for when I want to drink my tea slowlyfig 63. green apple sinnlig candle from ikea fig 64. $20 bill fig 65. my trusty olfa knife, with japanese black carbon tool steelfig 66. my portable 12’/ 3.5m komelon tape measure39 40Part One Leaving Room fig 23.)    GP1 Report, pg 34-35, 20/05/013534fig 67. black wallet and coin purse that I got from artbox in seoul last yearfig 68. logitech m330 wireless silent mouse, my second onefig 69. a folded grocery bag, awaiting its turn to become a trash bagfig 70. stone from lisa fig 71. my new airpods, a gift to myself on my birthday. being wireless has been a gamechanger for when making modelsfig 72. 1-2-3 block41 42Part One Leaving Room fig 24.)    GP1 Report, pg 36-37, 20/05/013736fig 73. a pack of matches for lighting candles fig 74. 10000mAH anker power bank, for charging my phone when I’m out catching pokemonfig 75. a christmas card fig 76. 120 grit sand paper fig 77. new box of 100 T-pins, 1.5” fig 78. an x-acto knife43 44Part One Leaving Room fig 25.)    GP1 Report, pg 38-39, 20/05/013938fig 73. kingsdon esd-10 tweezers, these help a lot when making small thingsfig 74. half full touch toothpick container for 250 regular round picks, the lid twists open like a spice containerfig 75. translucent lighter, ignitus brand fig 76. baby blue Bic lighter, with safety removed fig 77. house key fig 78. tangled blue rubber band45 46Part One Leaving Room fig 26.)    GP1 Report, pg 40-41, 20/05/014140In the process of modeling my room in miniature, I gradually felt my own consciousness shrinking, or more appropriately, compressing to be able to enter and hide itself in the miniaturized room. This transformation of attention made the bounded space of my actual room seem infinite and more boundless than before. Miniaturization became a kind of escape, an imagining of a room within a room or a world within a world that I could freely enter and find refuge in.Introspection which leads to imagination, is conceived as an act of compression, where understanding oneself is analogous with seeing things more clearly. In seeing more clearly, the actual is no longer dull nor familiar, but can now seem too real or too sharp compared to the softer spaces of one’s imaginary. To the soft spaces I go!The work in GP2 aims to continue this working methodology with hopes to invite others along on the journey - a journey to overcome the trappings of modern life by revealing spaces in plain sight where one can wake up anew.Epilogue47 48Part One Leaving Room fig 27.)    GP1 Report, pg 42-43, 20/05/014342Abruzzo, Emily, Eric Ellingsen, and Jonathan D. Solomon, eds. Models. 306090 Books, v. 11. New York, N.Y. : [Enfield: 306090, Inc. ; Publishers Group UK, distributor], 2007.Bachelard, Gaston, and M. Jolas. The Poetics of Space. Penguin Classics. New York, New York: Penguin Books, 2014.Between Silence and Light: Spirit in the Architecture of Louis I. Kahn. Boston: Shambhala, 2008.Calder, Alexander, Peter Fischli, David Weiss, Theodora Vischer, and Fondation Beyeler, eds. Alexander Calder & Fischli/Weiss. Ostfildern, Germany: Hatje Cantz, 2016.Canadian Centre for Architecture, Montreal. Text 8: The Lancaster/Hanover Masque. London: Architectural Association, 1992.Cooper Union for the Advancement of Science and Art, and Museum of Modern Art (New York, N.Y.), eds. Education of an Architect: A Point of View. [New York, 1971.Dogma (Bruxelles). The Room of One’s Own: The Architecture of the (Private) Room. Black Square, 2017.Fabrizi, Mariabruna, and Fosco Lucarelli. Inner Space: Constructing the Imagination. Lisbon Architecture Triennale, 2019.Fagan, Brian M., and Nadia Durrani. What We Did in Bed: A Horizontal History. New Haven: Yale University Press, 2019.Fischli, Peter, David Weiss, and Bice Curiger. Fischli Weiss: Flowers & Questions: A Retrospective. London : New York: Tate ; Distributed in the United States by Harry N. Abrams, 2006.Hamilton, William L. “Heiress Plotted 19 Grisly Crimes. Investigation Underway.” The New York Times, January 10, 2018, sec. Arts. https://www.nytimes.com/2018/01/10/arts/design/frances-glessner-lee-forensic-science-renwick-museum.html.“Harvard Design Magazine: Architecture’s Inside.” Accessed May 1, 2020. http://www.harvarddesignmagazine.org/issues/29/architecture-s-inside.“Harvard Design Magazine: What Else about the Inside?” Accessed May 1, 2020. http://www.harvarddesignmagazine.org/issues/47/what-else-about-the-inside.Ishigami, Jun’ya, Chinatsu Kuma, Pamela Miki, and Arthur Binard. Junya Ishigami: how small? how vast? how architecture grows. Ostfildern: Hatje Cantz, 2014.Laan, Hans van der. Architectonic Space: Fifteen Lessons on the Disposition of the Human Habitat. Leiden: Brill, 1983.Mills, Criss. Designing with Models: A Studio Guide to Architectural Process Models. 3rd ed. Hoboken, N.J: Wiley, 2011.Moon, Karen. Modeling Messages: The Architect and the Model. New York: Monacelli Press, 2005.Morris, Mark. Models: Architecture and the Miniature. Architecture in Practice. Chichester, West Sussex ; Hoboken, NJ: Wiley-Academy, 2006.Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. AD Primers. Chichester, U.K: Wiley, 2009.Pollan, Michael. A Place of My Own: The Architecture of Daydreams. Reprint edition. New York: Penguin Books, 2008Rossi, Aldo. A Scientific Autobiography. Oppositions Books. Cambridge, Mass: MIT Press, 1981.Saint-Exupéry, Antoine de, and Richard Howard. The Little Prince. 1st ed. San Diego: Harcourt, 2000.Woolf, Virginia. A Room of One’s Own. A Harvest/HBJ Book. New York: Harcourt, Brace & World, 1957.ReferencesThe following pages are an appendix of GP1 assignments: Mindmap, Storyboard, Timeline, SiteIn the process of modeling my room in miniature, I gradually felt my own consciousness shrinking, or more appropriately, compressing to be able to enter and hide itself in the miniaturized room. This transformation of attention made the bounded space of my actual room seem infinite and more boundless than before. Miniaturization became a kind of escape, an imagining of a room within a room or a world within a world that I could freely enter and find refuge in.Introspection which leads to imagination, is conceived as an act of compression, where understanding oneself is analogous with seeing things more clearly. In seeing more clearly, the actual is no longer dull nor familiar, but can now seem too real or too sharp compared to the softer spaces of one’s imaginary. To the soft spaces I go!The work in GP2 aims to continue this working methodology with hopes to invite others along on the journey - a journey to overcome the trappings of modern life by revealing spaces in plain sight where one can wake up anew.49 50Part One Leaving Room fig 28.)    GP1 Report, pg 44-45, 20/05/014544when asleep, a story boardArchitecture is imagined with the bed as the starting point and model making as the driving process. Concomittant with both predilections is the idea of the unconscious and its untapped potentiality. Playing with scale and materiality, the project relies on its own latent logics to propel itself forward. Appendix51 52Part One Leaving Room fig 29.)    GP1 Report, pg 46-47, 20/05/014746restless beds, a timelineThe thesis begins with the bed, a signifier of space. The twenty-one beds depict twenty-one moments in time. Ambiguous about whether they collectively portray the course of three weeks or a single night, the thesis aims to foreground space and its occupation while crystallizing (or modelling) time. the unconscious room, a siteThe presence of the bed implies a bedroom. The bedroom can be regarded as the origin of architecture with its figuration found in the idea of the primitive hut. Despite this, not much has been explored about the bedroom in contemporary discourse. Difficulty in its assessment may arise from the irony that the bedroom is a space we are not meant to consciously experience.This studio begins with the bedPart 1: FeelingWhen I need to take a break from work, I like to assume horizontality. I like to fall into my bed, hide under my blankets, and disappear into the quiet of my room. Underneath my covers, my blankets become a kind of first enclosure. Soft crinkled fabric sheets rest and span from points on my face and body, capturing the heat of my breath and keeping me warm. Moving under these sheets, the crinkles fold and unfold, creating new vaults and valleys that also change with the quality and amount of light that illuminate this ‘little room.’ Pulling back these covers, I would find myself in another room, facing another cover made up of different surfaces and seams that invite my eyes to trace, feel, and push through. Exercise 1: Using the bedsheet as inspiration, students are asked to first photograph and then draw different spaces underneath the bed sheet, modelling and exploring different conditions of softness, volume and light. Part 2: SeeingA plane we cannot access physically, the ceiling, which is usually out of sight and above our heads, comes into focus when we are upside down or on our beds. A cap, a cover, an underside, ceilings bound a room vertically. Moreover, these surfaces are often sprinkled with lights and other out-of-reach-appendages which, when taken altogether, radically affect how the spaces below are organized and even felt. While we are so used to looking down when drawing and conventionally conceive of space from the top down, this part attempts to invert this tendency by asking: what if we started from lying down and looked up. Exercise 2: Compile and create RCPs of precedent ceilings, being particularly sensitive about encoding topographic features and elements. Create paper models of select ceilings.Part 3: WakingIt is my hope that the two earlier exercises would converge here to suggest a design project with a multimedia dimension. I am not sure if the missing element is some sort of social dimension, and/or if the earlier investigations can continue as a sort of dreamscape of suspended ceilings. An underlying theme in the work that could be amplified concerns topics of isolation and the challenge to design while trapped within the confines of one’s home. By drawing from the material universe of objects around us and above us, the project suggests multiple ways to escape and find refuge. But I wonder if there can be an element or even suggestion of connection, as a sort of ultimate antidote to this predicament. 53 54Part Two Leaving Room fig 30.)    GP2 Syllabus, 20/09/04  fig 31.)    Sketch, Towards a Feeling, 20/09/09 55 56Part Two Leaving Room fig 32.)    Photographs, Bedsheet Studies, 20/09/09  fig 33.)    Photographs, Bedsheet Studies, 20/09/1057 58Part Two Leaving Room fig 34.)    Photographs, Bedsheet Studies, 20/09/09  fig 35.)    Photographs, Bedsheet Studies, 20/09/1059 60Part Two Leaving Room fig 36.)    Photograph, Gridded Bedsheet Studies, 20/09/13  fig 37.)    Photographs, Gridded Bedsheet Studies, 20/09/13 61 62Part Two Leaving Room fig 38.)    Photograph, Gridded Bedsheet Studies, 20/09/13  fig 39.)    Photograph, Bedsheet Cathedral, 20/09/14 63 64Part Two Leaving Room fig 40.)    Cutout Library, 0.2x scaled65 66Part Two Leaving Room fig 41.)    Slides, Committee Meeting, 20/10/05  fig 42.)    Slides, Midterm, 1 of 4, 20/10/1967 68Part Two Leaving Room fig 44.)    Slides, Midterm, 3 of 4, 20/10/19 fig 43.)    Slides, Midterm, 2 of 4, 20/10/1969 70Part Two Leaving Room fig 46.)    Slides, Committee Meeting, 20/11/02 fig 45.)    Slides, Midterm, 4 of 4, 20/10/1971 72Part Two Leaving RoomMethodAs a method, the room and its contents were modelled over the series of several months. The miniature was then staged to reconstruct memories of the room in the past year. To document the project, an image of the room was taken once a minute over a 24 hour period. Memory and process, the past and the present, the miniature and the room, slowness and speed, intention and chance, overlap in the 900-some images that comprise the work at its current state. A small selection was shown for the final review. fig 47.)    Grid of photos with selection, 20/12/12preamble“.... Initially I was interested in the bed as a place of the imaginary, beginning with the bedsheet, I looked at photographing the spaces created underneath its infinite folds. This interest grew to include the greater room that the bed was housed in. A container of four walls, a window and a door, I became interested in what constituted the image of the room, and how much of a space was actually determined by the things we put in it, the way we positioned them, used them, grew attachments to them.... the time of day... Elements beyond the four walls. The image of the room was one that never existed in comfortable stasis.” Final PresentationThe final presentation was held on Zoom on 20/12/16 at 3pm in the afternoon. Invited critics were Lisa Landrum, Diego Ricalde, Sarah Shlegelmilch. Faculty present were Inge Roecker, Matthew Soules, and Leslie Van Duzer in addition to Bill Pechet, Thena Tak, and Sarah Stevens on my committee. A fisheye lens was attached to my webcam, distorting my room to appear as if it were a miniature. Lights were also directed towards perimeter walls to reveal the room in its entirety. A couple slides were prepared that briefly shared some process work before inviting people into the main project, the room imaged through memory. Captions were read, followed by the timestamp, followed by about 5 beats of pause before moving to the next slide.73 74Part Two Leaving Room fig 48.)    Slides, Final Review, 1 of 4, 20/12/1675 76Part Two Leaving Room fig 49.)    Slides, Final Review, 2 of 4, 20/12/1677 78Part Two Leaving Room fig 50.)    Slides, Final Review, 3 of 4, 20/12/1679 80Part Two Leaving Room fig 51.)    Slides, Final Review, 4 of 4, 20/12/1681 82Part Two Leaving Room fig 52.)    Screenshot, Final Review, 20/12/16Library of imagesThe following 900 images were edited down from a frenzy of about 3000. Together, the images compose an image of the room whose rhythms register and correspond with the changing light quality throughout the day. Totalizing explanations of the project are intentionally withheld, leaving room for people to come to their own conclusions about the work. EpilogueTranscript“The narrative is a loop, or more precisely a pendulum, that leaves the present moment to go back to some of my earliest memories in the room, and by sunrise, it returns back to the present. Thank you.”N/A83 84Archive Leaving Room fig 53.)    Image of the Room85 86Archive Leaving Room fig 55.)     Image 2  fig 54.)     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Image 884  fig 936.)     Image 883 969 970Archive Leaving Room fig 939.)     Image 886  fig 938.)     Image 885 971 972Archive Leaving Room fig 941.)     Image 888  fig 940.)     Image 887 973 974Archive Leaving Room fig 943.)     Image 890  fig 942.)     Image 889 975 976Archive Leaving Room fig 945.)     Image 892  fig 944.)     Image 891 977 978Archive Leaving Room fig 947.)     Image 894  fig 946.)     Image 893 979 980Archive Leaving Room fig 949.)     Image 896  fig 948.)     Image 895 981 982Archive Leaving Room fig 951.)     Image 898  fig 950.)     Image 897 983 984Archive Leaving Room fig 952.)      fig 953.)     Image 899 Image 900 985 986Bibliography Leaving RoomBachelard, Gaston, and Richard Kearney. In The Poetics of Space. London: Penguin Classics, 2014. Botz, Corinne May. The Nutshell Studies of Unexplained Death. The Monacelli Press, 2004.Calder, Alexander, Peter Fischli, David Weiss, Theodora Vischer, and Fondation Beyeler. Alexander Calder & Fischli/Weiss. Ostfildern, Germany: Hatje Cantz, 2016. Demand, Thomas, and Christy Lange. Thomas Demand: the Complete Papers. London: Mack, 2019. Grudin, Robert. Time and the Art of Living. Mariner Books, 1982. Haladyn, Julian Jason. Marcel Duchamp: Etant donnes. London: Afterall Books, 2010. Horn, Roni. Making Being Here Enough: Installations from 1980 to 1995. Basel: Kunsthalle, 1995. Lingwood, James, Jen Mergel, Adam D.. Weinberg, and Jill S.. Medvedow. Charles LeDray: Workworkworkworkwork. New York , NY: Skira Rizzoli, 2010. Mcguire, Richard. Here. Pantheon Books, 2014.Ruff Thomas. Thomas Ruff: Interieurs. Cologne: Verlag der Buchhandlung Walther Konig, 2018. Saint-Exupery Antoine de, and Richard Howard. The Little Prince. Orlando, Fl: Harvest Book, 2000. Simone, Ashley, Patricia Phillips, and Ellen Wexler. Allan Wexler: Absurd Thinking between Art and Design. Zurich: Lars Muller Publishers, 2017. Wall, Jeff. Jeff Wall: Selected Essays and Interviews. New York, NY: The Museum of Modern Art, 2007. Bibliography and influencescontact: bodeuk@gmail.com

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