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 (fig 106.) 137 (fig 107.) 138 (fig 108.) 139 (fig 109.) 140 (fig 110.) 141 (fig 111.) 142 (fig 112.) 143 (fig 113.) 144 (fig 114.) 145 (fig 115.) 146 (fig 116.) 147 (fig 117.) 148 (fig 118.) 149 (fig 119.) 150 (fig 120.) 151 (fig 121.) 152 (fig 122.) 153 (fig 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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 Room (fig 557.) 588 (fig 558.) 589 (fig 559.) 590 (fig 560.) 591 (fig 561.) 592 (fig 562.) 593 (fig 563.) 594 (fig 564.) 595 (fig 565.) 596 (fig 566.) 597 (fig 567.) 598 (fig 568.) 599 (fig 569.) 600 (fig 570.) 601 (fig 571.) 602 (fig 572.) 603 (fig 573.) 604 (fig 574.) 605 (fig 575.) 606 (fig 576.) 607 (fig 577.) 608 (fig 578.) 609 (fig 579.) 610 (fig 580.) 611 (fig 581.) 612 (fig 582.) 613 (fig 583.) 614 (fig 584.) 615 (fig 585.) 616 (fig 586.) 617 (fig 587.) 618 (fig 588.) 619 (fig 589.) 620 (fig 590.) 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734 Image 735 Image 736 Image 737 Image 738 Image 739 Image 740 Image 741 Image 742 Image 743 Image 744 Image 745 Image 746 Image 747 Image 748 Image 749 Image 750 Image 751 Image 752 Image 753 Image 754 Image 755 Image 756 Image 757 Image 758 Image 759 Image 760 Image 761 Image 762 Image 763 Image 764 Image 765 Image 766 Image 767 Image 768 Image 769 Image 770 Image 771 Image 772 Image 773 Image 774 Image 775 Image 776 Image 777 Image 778 Image 779 Image 780 Image 781 Image 782 Image 783 xii xiiiFront Matter Leaving Room (fig 837.) 868 (fig 838.) 869 (fig 839.) 870 (fig 840.) 871 (fig 841.) 872 (fig 842.) 873 (fig 843.) 874 (fig 844.) 875 (fig 845.) 876 (fig 846.) 877 (fig 847.) 878 (fig 848.) 879 (fig 849.) 880 (fig 850.) 881 (fig 851.) 882 (fig 852.) 883 (fig 853.) 884 (fig 854.) 885 (fig 855.) 886 (fig 856.) 887 (fig 857.) 888 (fig 858.) 889 (fig 859.) 890 (fig 860.) 891 (fig 861.) 892 (fig 862.) 893 (fig 863.) 894 (fig 864.) 895 (fig 865.) 896 (fig 866.) 897 (fig 867.) 898 (fig 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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. 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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.) Image 1 87 88Archive Leaving Room fig 57.) Image 4 fig 56.) Image 3 89 90Archive Leaving Room fig 59.) Image 6 fig 58.) Image 5 91 92Archive Leaving Room fig 61.) Image 8 fig 60.) Image 7 93 94Archive Leaving Room fig 63.) Image 10 fig 62.) Image 9 95 96Archive Leaving Room fig 65.) Image 12 fig 64.) Image 11 97 98Archive Leaving Room fig 67.) Image 14 fig 66.) Image 13 99 100Archive Leaving Room fig 69.) Image 16 fig 68.) Image 15 101 102Archive Leaving Room fig 71.) Image 18 fig 70.) Image 17 103 104Archive Leaving Room fig 73.) Image 20 fig 72.) Image 19 105 106Archive Leaving Room fig 75.) Image 22 fig 74.) Image 21 107 108Archive Leaving Room fig 77.) Image 24 fig 76.) Image 23 109 110Archive Leaving Room fig 79.) Image 26 fig 78.) Image 25 111 112Archive Leaving Room fig 81.) Image 28 fig 80.) Image 27 113 114Archive Leaving Room fig 83.) Image 30 fig 82.) Image 29 115 116Archive Leaving Room fig 85.) Image 32 fig 84.) Image 31 117 118Archive Leaving Room fig 87.) Image 34 fig 86.) Image 33 119 120Archive Leaving Room fig 89.) Image 36 fig 88.) Image 35 121 122Archive Leaving Room fig 91.) Image 38 fig 90.) Image 37 123 124Archive Leaving Room fig 93.) Image 40 fig 92.) Image 39 125 126Archive Leaving Room fig 95.) Image 42 fig 94.) Image 41 127 128Archive Leaving Room fig 97.) Image 44 fig 96.) Image 43 129 130Archive Leaving Room fig 99.) Image 46 fig 98.) Image 45 131 132Archive Leaving Room fig 101.) Image 48 fig 100.) Image 47 133 134Archive Leaving Room fig 103.) Image 50 fig 102.) Image 49 135 136Archive Leaving Room fig 105.) Image 52 fig 104.) Image 51 137 138Archive Leaving Room fig 107.) Image 54 fig 106.) Image 53 139 140Archive Leaving Room fig 109.) Image 56 fig 108.) Image 55 141 142Archive Leaving Room fig 111.) Image 58 fig 110.) Image 57 143 144Archive Leaving Room fig 113.) Image 60 fig 112.) Image 59 145 146Archive Leaving Room fig 115.) Image 62 fig 114.) Image 61 147 148Archive Leaving Room fig 117.) Image 64 fig 116.) Image 63 149 150Archive Leaving Room fig 119.) Image 66 fig 118.) Image 65 151 152Archive Leaving Room fig 121.) Image 68 fig 120.) Image 67 153 154Archive Leaving Room fig 123.) Image 70 fig 122.) Image 69 155 156Archive Leaving Room fig 125.) Image 72 fig 124.) Image 71 157 158Archive Leaving Room fig 127.) Image 74 fig 126.) Image 73 159 160Archive Leaving Room fig 129.) Image 76 fig 128.) Image 75 161 162Archive Leaving Room fig 131.) Image 78 fig 130.) Image 77 163 164Archive Leaving Room fig 133.) Image 80 fig 132.) Image 79 165 166Archive Leaving Room fig 135.) Image 82 fig 134.) Image 81 167 168Archive Leaving Room fig 137.) Image 84 fig 136.) Image 83 169 170Archive Leaving Room fig 139.) Image 86 fig 138.) Image 85 171 172Archive Leaving Room fig 141.) Image 88 fig 140.) Image 87 173 174Archive Leaving Room fig 143.) Image 90 fig 142.) Image 89 175 176Archive Leaving Room fig 145.) Image 92 fig 144.) Image 91 177 178Archive Leaving Room fig 147.) Image 94 fig 146.) Image 93 179 180Archive Leaving Room fig 149.) Image 96 fig 148.) Image 95 181 182Archive Leaving Room fig 151.) Image 98 fig 150.) Image 97 183 184Archive Leaving Room fig 153.) Image 100 fig 152.) Image 99 185 186Archive Leaving Room fig 155.) Image 102 fig 154.) Image 101 187 188Archive Leaving Room fig 157.) Image 104 fig 156.) Image 103 189 190Archive Leaving Room fig 159.) Image 106 fig 158.) Image 105 191 192Archive Leaving Room fig 161.) Image 108 fig 160.) Image 107 193 194Archive Leaving Room fig 163.) Image 110 fig 162.) Image 109 195 196Archive Leaving Room fig 165.) Image 112 fig 164.) Image 111 197 198Archive Leaving Room fig 167.) Image 114 fig 166.) Image 113 199 200Archive Leaving Room fig 169.) Image 116 fig 168.) Image 115 201 202Archive Leaving Room fig 171.) Image 118 fig 170.) Image 117 203 204Archive Leaving Room fig 173.) Image 120 fig 172.) Image 119 205 206Archive Leaving Room fig 175.) Image 122 fig 174.) Image 121 207 208Archive Leaving Room fig 177.) Image 124 fig 176.) Image 123 209 210Archive Leaving Room fig 179.) Image 126 fig 178.) Image 125 211 212Archive Leaving Room fig 181.) Image 128 fig 180.) Image 127 213 214Archive Leaving Room fig 183.) Image 130 fig 182.) Image 129 215 216Archive Leaving Room fig 185.) Image 132 fig 184.) Image 131 217 218Archive Leaving Room fig 187.) Image 134 fig 186.) Image 133 219 220Archive Leaving Room fig 189.) Image 136 fig 188.) Image 135 221 222Archive Leaving Room fig 191.) Image 138 fig 190.) Image 137 223 224Archive Leaving Room fig 193.) Image 140 fig 192.) Image 139 225 226Archive Leaving Room fig 195.) Image 142 fig 194.) Image 141 227 228Archive Leaving Room fig 197.) Image 144 fig 196.) Image 143 229 230Archive Leaving Room fig 199.) Image 146 fig 198.) Image 145 231 232Archive Leaving Room fig 201.) Image 148 fig 200.) Image 147 233 234Archive Leaving Room fig 203.) Image 150 fig 202.) Image 149 235 236Archive Leaving Room fig 205.) Image 152 fig 204.) Image 151 237 238Archive Leaving Room fig 207.) Image 154 fig 206.) Image 153 239 240Archive Leaving Room fig 209.) Image 156 fig 208.) Image 155 241 242Archive Leaving Room fig 211.) Image 158 fig 210.) Image 157 243 244Archive Leaving Room fig 213.) Image 160 fig 212.) Image 159 245 246Archive Leaving Room fig 215.) Image 162 fig 214.) Image 161 247 248Archive Leaving Room fig 217.) Image 164 fig 216.) Image 163 249 250Archive Leaving Room fig 219.) Image 166 fig 218.) Image 165 251 252Archive Leaving Room fig 221.) Image 168 fig 220.) Image 167 253 254Archive Leaving Room fig 223.) Image 170 fig 222.) Image 169 255 256Archive Leaving Room fig 225.) Image 172 fig 224.) Image 171 257 258Archive Leaving Room fig 227.) Image 174 fig 226.) Image 173 259 260Archive Leaving Room fig 229.) Image 176 fig 228.) Image 175 261 262Archive Leaving Room fig 231.) Image 178 fig 230.) Image 177 263 264Archive Leaving Room fig 233.) Image 180 fig 232.) Image 179 265 266Archive Leaving Room fig 235.) Image 182 fig 234.) Image 181 267 268Archive Leaving Room fig 237.) Image 184 fig 236.) Image 183 269 270Archive Leaving Room fig 239.) Image 186 fig 238.) Image 185 271 272Archive Leaving Room fig 241.) Image 188 fig 240.) Image 187 273 274Archive Leaving Room fig 243.) Image 190 fig 242.) Image 189 275 276Archive Leaving Room fig 245.) Image 192 fig 244.) Image 191 277 278Archive Leaving Room fig 247.) Image 194 fig 246.) Image 193 279 280Archive Leaving Room fig 249.) Image 196 fig 248.) Image 195 281 282Archive Leaving Room fig 251.) Image 198 fig 250.) Image 197 283 284Archive Leaving Room fig 253.) Image 200 fig 252.) Image 199 285 286Archive Leaving Room fig 255.) Image 202 fig 254.) Image 201 287 288Archive Leaving Room fig 257.) Image 204 fig 256.) Image 203 289 290Archive Leaving Room fig 259.) Image 206 fig 258.) Image 205 291 292Archive Leaving Room fig 261.) Image 208 fig 260.) Image 207 293 294Archive Leaving Room fig 263.) Image 210 fig 262.) Image 209 295 296Archive Leaving Room fig 265.) Image 212 fig 264.) Image 211 297 298Archive Leaving Room fig 267.) Image 214 fig 266.) Image 213 299 300Archive Leaving Room fig 269.) Image 216 fig 268.) Image 215 301 302Archive Leaving Room fig 271.) Image 218 fig 270.) Image 217 303 304Archive Leaving Room fig 273.) Image 220 fig 272.) Image 219 305 306Archive Leaving Room fig 275.) Image 222 fig 274.) Image 221 307 308Archive Leaving Room fig 277.) Image 224 fig 276.) Image 223 309 310Archive Leaving Room fig 279.) Image 226 fig 278.) Image 225 311 312Archive Leaving Room fig 281.) Image 228 fig 280.) Image 227 313 314Archive Leaving Room fig 283.) Image 230 fig 282.) Image 229 315 316Archive Leaving Room fig 285.) Image 232 fig 284.) Image 231 317 318Archive Leaving Room fig 287.) Image 234 fig 286.) Image 233 319 320Archive Leaving Room fig 289.) Image 236 fig 288.) Image 235 321 322Archive Leaving Room fig 291.) Image 238 fig 290.) Image 237 323 324Archive Leaving Room fig 293.) Image 240 fig 292.) Image 239 325 326Archive Leaving Room fig 295.) Image 242 fig 294.) Image 241 327 328Archive Leaving Room fig 297.) Image 244 fig 296.) Image 243 329 330Archive Leaving Room fig 299.) Image 246 fig 298.) Image 245 331 332Archive Leaving Room fig 301.) Image 248 fig 300.) Image 247 333 334Archive Leaving Room fig 303.) Image 250 fig 302.) Image 249 335 336Archive Leaving Room fig 305.) Image 252 fig 304.) Image 251 337 338Archive Leaving Room fig 307.) Image 254 fig 306.) Image 253 339 340Archive Leaving Room fig 309.) Image 256 fig 308.) Image 255 341 342Archive Leaving Room fig 311.) Image 258 fig 310.) Image 257 343 344Archive Leaving Room fig 313.) Image 260 fig 312.) Image 259 345 346Archive Leaving Room fig 315.) Image 262 fig 314.) Image 261 347 348Archive Leaving Room fig 317.) Image 264 fig 316.) Image 263 349 350Archive Leaving Room fig 319.) Image 266 fig 318.) Image 265 351 352Archive Leaving Room fig 321.) Image 268 fig 320.) Image 267 353 354Archive Leaving Room fig 323.) Image 270 fig 322.) Image 269 355 356Archive Leaving Room fig 325.) Image 272 fig 324.) Image 271 357 358Archive Leaving Room fig 327.) Image 274 fig 326.) Image 273 359 360Archive Leaving Room fig 329.) Image 276 fig 328.) Image 275 361 362Archive Leaving Room fig 331.) Image 278 fig 330.) Image 277 363 364Archive Leaving Room fig 333.) Image 280 fig 332.) Image 279 365 366Archive Leaving Room fig 335.) Image 282 fig 334.) Image 281 367 368Archive Leaving Room fig 337.) Image 284 fig 336.) Image 283 369 370Archive Leaving Room fig 339.) Image 286 fig 338.) Image 285 371 372Archive Leaving Room fig 341.) Image 288 fig 340.) Image 287 373 374Archive Leaving Room fig 343.) Image 290 fig 342.) Image 289 375 376Archive Leaving Room fig 345.) Image 292 fig 344.) Image 291 377 378Archive Leaving Room fig 347.) Image 294 fig 346.) Image 293 379 380Archive Leaving Room fig 349.) Image 296 fig 348.) Image 295 381 382Archive Leaving Room fig 351.) Image 298 fig 350.) Image 297 383 384Archive Leaving Room fig 353.) Image 300 fig 352.) Image 299 385 386Archive Leaving Room fig 355.) Image 302 fig 354.) Image 301 387 388Archive Leaving Room fig 357.) Image 304 fig 356.) Image 303 389 390Archive Leaving Room fig 359.) Image 306 fig 358.) Image 305 391 392Archive Leaving Room fig 361.) Image 308 fig 360.) Image 307 393 394Archive Leaving Room fig 363.) Image 310 fig 362.) Image 309 395 396Archive Leaving Room fig 365.) Image 312 fig 364.) Image 311 397 398Archive Leaving Room fig 367.) Image 314 fig 366.) Image 313 399 400Archive Leaving Room fig 369.) Image 316 fig 368.) Image 315 401 402Archive Leaving Room fig 371.) Image 318 fig 370.) Image 317 403 404Archive Leaving Room fig 373.) Image 320 fig 372.) Image 319 405 406Archive Leaving Room fig 375.) Image 322 fig 374.) Image 321 407 408Archive Leaving Room fig 377.) Image 324 fig 376.) Image 323 409 410Archive Leaving Room fig 379.) Image 326 fig 378.) Image 325 411 412Archive Leaving Room fig 381.) Image 328 fig 380.) Image 327 413 414Archive Leaving Room fig 383.) Image 330 fig 382.) Image 329 415 416Archive Leaving Room fig 385.) Image 332 fig 384.) Image 331 417 418Archive Leaving Room fig 387.) Image 334 fig 386.) Image 333 419 420Archive Leaving Room fig 389.) Image 336 fig 388.) Image 335 421 422Archive Leaving Room fig 391.) Image 338 fig 390.) Image 337 423 424Archive Leaving Room fig 393.) Image 340 fig 392.) Image 339 425 426Archive Leaving Room fig 395.) Image 342 fig 394.) Image 341 427 428Archive Leaving Room fig 397.) Image 344 fig 396.) Image 343 429 430Archive Leaving Room fig 399.) Image 346 fig 398.) Image 345 431 432Archive Leaving Room fig 401.) Image 348 fig 400.) Image 347 433 434Archive Leaving Room fig 403.) Image 350 fig 402.) Image 349 435 436Archive Leaving Room fig 405.) Image 352 fig 404.) Image 351 437 438Archive Leaving Room fig 407.) Image 354 fig 406.) Image 353 439 440Archive Leaving Room fig 409.) Image 356 fig 408.) Image 355 441 442Archive Leaving Room fig 411.) Image 358 fig 410.) Image 357 443 444Archive Leaving Room fig 413.) Image 360 fig 412.) Image 359 445 446Archive Leaving Room fig 415.) Image 362 fig 414.) Image 361 447 448Archive Leaving Room fig 417.) Image 364 fig 416.) Image 363 449 450Archive Leaving Room fig 419.) Image 366 fig 418.) Image 365 451 452Archive Leaving Room fig 421.) Image 368 fig 420.) Image 367 453 454Archive Leaving Room fig 423.) Image 370 fig 422.) Image 369 455 456Archive Leaving Room fig 425.) Image 372 fig 424.) Image 371 457 458Archive Leaving Room fig 427.) Image 374 fig 426.) Image 373 459 460Archive Leaving Room fig 429.) Image 376 fig 428.) Image 375 461 462Archive Leaving Room fig 431.) Image 378 fig 430.) Image 377 463 464Archive Leaving Room fig 433.) Image 380 fig 432.) Image 379 465 466Archive Leaving Room fig 435.) Image 382 fig 434.) Image 381 467 468Archive Leaving Room fig 437.) Image 384 fig 436.) Image 383 469 470Archive Leaving Room fig 439.) Image 386 fig 438.) Image 385 471 472Archive Leaving Room fig 441.) Image 388 fig 440.) Image 387 473 474Archive Leaving Room fig 443.) Image 390 fig 442.) Image 389 475 476Archive Leaving Room fig 445.) Image 392 fig 444.) Image 391 477 478Archive Leaving Room fig 447.) Image 394 fig 446.) Image 393 479 480Archive Leaving Room fig 449.) Image 396 fig 448.) Image 395 481 482Archive Leaving Room fig 451.) Image 398 fig 450.) Image 397 483 484Archive Leaving Room fig 453.) Image 400 fig 452.) Image 399 485 486Archive Leaving Room fig 455.) Image 402 fig 454.) Image 401 487 488Archive Leaving Room fig 457.) Image 404 fig 456.) Image 403 489 490Archive Leaving Room fig 459.) Image 406 fig 458.) Image 405 491 492Archive Leaving Room fig 461.) Image 408 fig 460.) Image 407 493 494Archive Leaving Room fig 463.) Image 410 fig 462.) Image 409 495 496Archive Leaving Room fig 465.) Image 412 fig 464.) Image 411 497 498Archive Leaving Room fig 467.) Image 414 fig 466.) Image 413 499 500Archive Leaving Room fig 469.) Image 416 fig 468.) Image 415 501 502Archive Leaving Room fig 471.) Image 418 fig 470.) Image 417 503 504Archive Leaving Room fig 473.) Image 420 fig 472.) Image 419 505 506Archive Leaving Room fig 475.) Image 422 fig 474.) Image 421 507 508Archive Leaving Room fig 477.) Image 424 fig 476.) Image 423 509 510Archive Leaving Room fig 479.) Image 426 fig 478.) Image 425 511 512Archive Leaving Room fig 481.) Image 428 fig 480.) Image 427 513 514Archive Leaving Room fig 483.) Image 430 fig 482.) Image 429 515 516Archive Leaving Room fig 485.) Image 432 fig 484.) Image 431 517 518Archive Leaving Room fig 487.) Image 434 fig 486.) Image 433 519 520Archive Leaving Room fig 489.) Image 436 fig 488.) Image 435 521 522Archive Leaving Room fig 491.) Image 438 fig 490.) Image 437 523 524Archive Leaving Room fig 493.) Image 440 fig 492.) Image 439 525 526Archive Leaving Room fig 495.) Image 442 fig 494.) Image 441 527 528Archive Leaving Room fig 497.) Image 444 fig 496.) Image 443 529 530Archive Leaving Room fig 499.) Image 446 fig 498.) Image 445 531 532Archive Leaving Room fig 501.) Image 448 fig 500.) Image 447 533 534Archive Leaving Room fig 503.) Image 450 fig 502.) Image 449 535 536Archive Leaving Room fig 505.) Image 452 fig 504.) Image 451 537 538Archive Leaving Room fig 507.) Image 454 fig 506.) Image 453 539 540Archive Leaving Room fig 509.) Image 456 fig 508.) Image 455 541 542Archive Leaving Room fig 511.) Image 458 fig 510.) Image 457 543 544Archive Leaving Room fig 513.) Image 460 fig 512.) Image 459 545 546Archive Leaving Room fig 515.) Image 462 fig 514.) Image 461 547 548Archive Leaving Room fig 517.) Image 464 fig 516.) Image 463 549 550Archive Leaving Room fig 519.) Image 466 fig 518.) Image 465 551 552Archive Leaving Room fig 521.) Image 468 fig 520.) Image 467 553 554Archive Leaving Room fig 523.) Image 470 fig 522.) Image 469 555 556Archive Leaving Room fig 525.) Image 472 fig 524.) Image 471 557 558Archive Leaving Room fig 527.) Image 474 fig 526.) Image 473 559 560Archive Leaving Room fig 529.) Image 476 fig 528.) Image 475 561 562Archive Leaving Room fig 531.) Image 478 fig 530.) Image 477 563 564Archive Leaving Room fig 533.) Image 480 fig 532.) Image 479 565 566Archive Leaving Room fig 535.) Image 482 fig 534.) Image 481 567 568Archive Leaving Room fig 537.) Image 484 fig 536.) Image 483 569 570Archive Leaving Room fig 539.) Image 486 fig 538.) Image 485 571 572Archive Leaving Room fig 541.) Image 488 fig 540.) Image 487 573 574Archive Leaving Room fig 543.) Image 490 fig 542.) Image 489 575 576Archive Leaving Room fig 545.) Image 492 fig 544.) Image 491 577 578Archive Leaving Room fig 547.) Image 494 fig 546.) Image 493 579 580Archive Leaving Room fig 549.) Image 496 fig 548.) Image 495 581 582Archive Leaving Room fig 551.) Image 498 fig 550.) Image 497 583 584Archive Leaving Room fig 553.) Image 500 fig 552.) Image 499 585 586Archive Leaving Room fig 555.) Image 502 fig 554.) Image 501 587 588Archive Leaving Room fig 557.) Image 504 fig 556.) Image 503 589 590Archive Leaving Room fig 559.) Image 506 fig 558.) Image 505 591 592Archive Leaving Room fig 561.) 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Image 856 fig 908.) Image 855 941 942Archive Leaving Room fig 911.) Image 858 fig 910.) Image 857 943 944Archive Leaving Room fig 913.) Image 860 fig 912.) Image 859 945 946Archive Leaving Room fig 915.) Image 862 fig 914.) Image 861 947 948Archive Leaving Room fig 917.) Image 864 fig 916.) Image 863 949 950Archive Leaving Room fig 919.) Image 866 fig 918.) Image 865 951 952Archive Leaving Room fig 921.) Image 868 fig 920.) Image 867 953 954Archive Leaving Room fig 923.) Image 870 fig 922.) Image 869 955 956Archive Leaving Room fig 925.) Image 872 fig 924.) Image 871 957 958Archive Leaving Room fig 927.) Image 874 fig 926.) Image 873 959 960Archive Leaving Room fig 929.) Image 876 fig 928.) Image 875 961 962Archive Leaving Room fig 931.) Image 878 fig 930.) Image 877 963 964Archive Leaving Room fig 933.) Image 880 fig 932.) Image 879 965 966Archive Leaving Room fig 935.) Image 882 fig 934.) Image 881 967 968Archive Leaving Room fig 937.) 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