Applied Science, Faculty of
Architecture and Landscape Architecture (SALA), School of
DSpace
A Brief History of the York Theatre (aka The Alcazar Theatre aka The Palace Theatre aka The Little Theatre aka The New York Theatre aka The Raja Theatre)
UBCV
Harper, Ellen Reiko
I started this project with an interest in secrets, in ideas about history, fiction, curation, and relative truths. Early on in the semester it was suggested that I take a look at the York Theatre. When I first started investigating it I wasn’t quite sure what I was looking for. Initially, I was intrigued by the disconnect between the storied history of the building and the systems in place that protect it. As I continued digging, I began to discover a series of incongruencies — moments that don’t quite fit into a clean narrative of the theatre’s past. I continued looking into these incongruencies, and I began trying to piece together some of these fragments. I don’t know if they can ever be fully assembled, but this is what I’ve discovered so far.
Ellen Reiko HarperBachelor of Arts, University of King’s College, 2017SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for theDEGREE OF MASTER OF ARCHITECTUREinTHE FACULTY OF APPLIED SCIENCESCHOOL OF ARCHITECTURE AND LANDSCAPEARCHITECTURE, ARCHITECTURE PROGRAMCommittee:Tijana Vujosevic [chair]Thena TakDaniel IrvineCarla GruberGP1 Mentor:Sara StevensThe University of British ColumbiaDecember 2021 © I started this project with an interest in secrets, in ideas about history, fiction, curation, and relative truths. Early on in the semester it was suggested that I take a look at the York Theatre. When I first started investigating it I wasn’t quite sure what I was looking for. Initially, I was intrigued by the disconnect between the storied history of the building and the systems in place that protect it. As I continued digging, I began to discover a series of incongruencies — moments that don’t quite fit into a clean narrative of the theatre’s past. An actress who mysteriously disappeared from a building full of people. A neighbour who discovered a series of spaces that don’t exist. A stage that’s shrinking. An auditorium that sometimes seats 700, but sometimes only seats 250. A fly tower that lost 12 feet over the years despite never changing from the exterior. I continued looking into these incongruencies, and I began trying to piece together some of these fragments. I don’t know if they can ever be fully assembled, but this is what I’ve discovered so far. __ This project is not an attempt to reminisce about the past lives of the building. It is of the opinion that what we know of the past is mere façade. It stands against the idea of singular grand narratives and the concept of clean recollection. Archival sources present an incomplete history, limited by what was written down, translated, preserved, and distributed. Instead, it is an attempt to work within that which has been documented and speculate on the narratives that have been forgotten.Fig 3. Widening CirclesiABSTRACTTABLE OF CONTENTSfront matterAbstract iTable of Contents iiiList of Figures ivAcknowledgements xiibodyPrelude 1Overture 17Rose Campbell 25The Caretaker 39Amy Hawthorne 61The Exhibits 87Exhibit A 109Exhibit B 141Exhibit C 169Epilogue 193end matterAppendices 195Bibliography 261ii iiiFigure 1 A thin piece of tape trying to hold it all together; cover IFigure 2 Fragments; cover IIFigure 3 Widening Circles; cover IVFigure 4 Acknowledgements; xiiFigure 5 Program Cover; 3Figure 6 Program pg. 1-2; 4Figure 7 Program pg. 3-4; 6Figure 8 Program pg. 5-6; 8Figure 9 Program pg. 7-8; 10Figure 10 Program pg. 9-10; 12Figure 11 Program back cover; 14Figure 12 Context Plan, Vancouver; 19Figure 13 Heritage Vancouver Archival Photos, Theatre Façade 1913; 20Figure 14 Context Plan, Grandview-Woodland; 21Figure 15 Heritage Vancouver Archival Photos, Theatre Façade 1983; 22Figure 16 Context Plan, Commercial and Georgia; 23Figure 17 Alcazar Theatre Advertisement, Vancouver Daily Mail, October 18, 1913.; 27Figure 18 “Too Much Johnson” Advertisement, Vancouver Daily Mail, October 29, 1913.; 27Figure 19 “Too Much Johnson” Review, The Province, November 4, 1913.; 29Figure 20 Theatre Reviews, The Province, November 25, 1913.; 31Figure 21 “The Price of Money” Review, The Province, November 11, 1913.; 31Figure 22 “Actress Mysteriously Disappears,” The Province, February 3, 1914.; 33Figure 23 “Past Last Call” excerpt, Discorder, September 1985.; 35Figure 24 The Caretaker’s Chair; 37Figure 25 News clippings collage; 41Figure 26 Unknown newsclipping fragment; 43Figure 27 John McCarter, Theatre ground floor plan, photograph of the orginal blueprint; 45Figure 28 Cot in the green room, photograph; 47Figure 29 The green room later on, photograph; 49Figure 30 “Past Last Call” excerpt 2, Discorder, September 1985.; 51Figure 31 The caretaker’s writings, photograph; 53Figure 32 A view of the theatre, model; 55Figure 33 Office millwork drawing; 57Figure 34 Office millwork drawing (open); 59Figure 35 Theatre for sale, photograph; 63Figure 36 Harold Kalman, Raja Theatre Photograph, 2006; 65Figure 37 Tour with the realtor, staging; 67Figure 38 Tour with the realtor, staging (dark); 69Figure 39 The realtor takes a phone call, staging; 71Figure 40 Amy Hawthorne, Backstage Sketch 1, 2006; 73Figure 41 Amy Hawthorne, Backstage Sketch 2, 2006; 75Figure 42 Amy Hawthorne, Backstage Sketch 3, 2006; 77Figure 43 The green room later on, photograph; 79Figure 44 The caretaker’s writings, photograph; 81Figure 45 Theatre façade, model.; 83Figure 46 Theatre demolition, model.; 85Figure 47 A detective’s Office; 86Figure 48 Image 01; 88Figure 49 Image 02, plan detail; 89Figure 50 Image 03, stage plan (model); 90Figure 51 Image 04, model pieces; 91Figure 52 Image 05, model from above; 92Figure 53 Image 06, figures in model; 93Figure 54 Image 07, model auditorium; 94Figure 55 Image 08; 95Figure 56 Image 09; 96Figure 57 Image 10, light detail; 97Figure 58 Image 11, clipboard detail; 98Figure 59 Image 12, clipboard detail 2; 99Figure 60 Image 13, clipboard detail 3; 100Figure 61 Image 14, hinge detail; 101Figure 62 Image 15, incongruencies; 102Figure 63 Image 16, closed model; 103Figure 64 Image 17, magnet detail; 104Figure 65 Image 18, model (front); 105Figure 66 Image 19; 106Figure 67 Image 20, model support detail; 107iv vLIST OF FIGURES LIST OF FIGURESFigure 68 Exhibit A, A Timeline; 108Figure 69 Caretaker’s writings 1, page 1; 111Figure 70 Caretaker’s writings 1, page 2; 113Figure 71 Caretaker’s writings 1, page 3; 115Figure 72 Exhibit A, a model in a case; 116Figure 73 Exhibit A, shelf of models; 117Figure 74 Exhibit A, model reflections; 118Figure 75 Exhibit A, shelf detail; 119Figure 76 Exhibit A, model reflections 2; 120Figure 77 Exhibit A, model reflections 3; 121Figure 78 Exhibit A, shelf detail 2; 122Figure 79 Exhibit A, shelf detail 3; 123Figure 80 Exhibit A, base detail; 124Figure 81 Exhibit A, base detail 2; 125Figure 82 Exhibit A, model in a case 2; 126Figure 83 Exhibit A, reflections detail 4; 127Figure 84 Exhibit A, shelf detail 4; 128Figure 85 Exhibit A, reflections detail 5; 129Figure 86 Exhibit A, lath detail; 130Figure 87 Exhibit A, wax model from below; 131Figure 88 Exhibit A, a drawing through a shelf; 132Figure 89 Exhibit A, a drawing; 133Figure 90 Exhibit A, drawing detail 1; 134Figure 91 Exhibit A, drawing detail 2; 135Figure 92 Exhibit A, drawing detail 3; 136Figure 93 Exhibit A, drawing detail 4; 137Figure 94 Exhibit A, drawing detail 5; 138Figure 95 Exhibit A, drawing detail 6; 139Figure 96 Exhibit B, An Archive; 140Figure 97 Caretaker’s writings 2; 143Figure 98 Exhibit B, cabinet content; 144Figure 99 Exhibit B, set model on a shelf; 145Figure 100 Exhibit B, set model; 146Figure 101 Exhibit B, folding set (drawing); 147Figure 102 Exhibit B, a mirrored theatre (model); 148Figure 103 Exhibit B, a mirrored theatre (drawing); 149Figure 104 Exhibit B, plant sketches; 150Figure 105 Exhibit B, site mold; 151Figure 106 Exhibit B, mold on a shelf; 152Figure 107 Exhibit B, mold detail; 153Figure 108 Exhibit B, cabinet content 2; 154Figure 109 Exhibit B, a room in progress; 155Figure 110 Exhibit B, a room; 156Figure 111 Exhibit B, walls on a wall; 157Figure 112 Exhibit B, wall content; 158Figure 113 Exhibit B, wall content 2; 159Figure 114 Exhibit B, walls; 160Figure 115 Exhibit B, walls detail; 161Figure 116 Exhibit B, room content; 162Figure 117 Exhibit B, room content 2; 163Figure 118 Exhibit B, room content 3; 164Figure 119 Exhibit B, drawer model; 165Figure 120 Exhibit B, drawer drawing; 166Figure 121 Exhibit B, a drawer; 167Figure 122 Exhibit C, A Frame; 168Figure 123 Caretaker’s writings 3; 171Figure 124 Exhibit C, site model detail; 172Figure 125 Exhibit C, a site model through a frame; 173Figure 126 Exhibit C, a room; 174Figure 127 Exhibit C, seat and model; 175Figure 128 Exhibit C, site model on plinth; 176Figure 129 Exhibit C, a seat; 177Figure 130 Exhibit C, a frame; 178Figure 131 Exhibit C, frame structure; 179Figure 132 Exhibit C, seat through a frame; 180Figure 133 Exhibit C, seat through a frame (model); 181Figure 134 Exhibit C, seat with a view; 182Figure 135 Exhibit C, seat with a view (drawing); 183vi viiLIST OF FIGURES LIST OF FIGURESFigure 136 Exhibit C, looking down towards stage; 184Figure 137 Exhibit C, the stage; 185Figure 138 Exhibit C, stage detail; 186Figure 139 Exhibit C, looking up from stage; 187Figure 140 Exhibit C, drawing detail; 188Figure 141 Exhibit C, model detail; 189Figure 142 Exhibit C, view from a seat; 190Figure 143 Exhibit C, view of a seat; 191Figure 144 A theatre for 600, model; 192Figure 145 Georges Méliès, film still, An Up to Date Conjurer, 0:16; 203Figure 146 Georges Méliès, film still, An Up to Date Conjurer, 0:24; 203Figure 147 Eadweard Muybridge, “Horse in Motion” photographs, June 1878; 205Figure 148 33 Thomas St. New York, NY; 209Figure 149 Magurian and Ray, MJT facade collage, Clamp-ons.; 213Figure 150 Magurian and Ray, MJT facade collage, Patchwork.; 213Figure 151 Magurian and Ray, MJT facade collage, Shadow Chaser.; 213Figure 152 Katie Holten, excerpt from “Time to a Pin Oak”; 217Figure 153 DS+R, Slow House, Horizon View, photograph; 225Figure 154 DS+R, Slow House, Collage of exterior perspective with shoreline vista.; 225Figure 155 The Earth and the Moon to Scale; 228Figure 156 Eames, Powers of 10, film still. 0:34.; 231Figure 157 Eames, Powers of 10, film still. 4:12.; 231Figure 158 Eames, Powers of 10, film still. 1:23.; 231Figure 159 Eames, Powers of 10, film still. 6:43.; 231Figure 160 Polaroid 01; 235Figure 161 Polaroid 02; 235Figure 162 Polaroid 03; 235Figure 163 Polaroid 04; 235Figure 164 Polaroid 05; 235Figure 165 Polaroid 06; 235Figure 166 Polaroid 07; 235Figure 167 Polaroid 08; 235Figure 168 Polaroid 09; 235Figure 169 Polaroid 10; 236Figure 170 Polaroid 11; 236Figure 171 Polaroid 12; 236Figure 172 Polaroid 13; 236Figure 173 Polaroid 14; 236Figure 174 Polaroid 15; 236Figure 175 Polaroid 16; 236Figure 176 Polaroid 18; 236Figure 177 Polaroid 19; 236Figure 178 Polaroid 20; 237Figure 179 Polaroid 21; 237Figure 180 Polaroid 22; 237Figure 181 Polaroid 23; 237Figure 182 Polaroid 24; 237Figure 183 Polaroid 25; 237Figure 184 Polaroid 26; 237Figure 185 Polaroid 27; 237Figure 186 Polaroid 28; 237Figure 187 A Small Block, arctic view; 239Figure 188 A Small Block, composite view (digital); 240Figure 189 A Small Block, wireframe; 241Figure 190 Portrait of a Small Block, printed; 242Figure 191 A Small Block, folded; 243Figure 192 A Small Block, composite view (physical); 244Figure 193 A Small Block, cast; 245Figure 194 A Series of Small Blocks; 246Figure 195 Small Blocks, cast; 246Figure 196 A Small Glycerin and Plaster Block; 247Figure 197 Portrait of a Small Block, misprint; 248Figure 198 A Small Block, miscast; 249Figure 199 Plant Sketch 01; 251Figure 200 Plant Sketch 02; 251Figure 201 Plant Sketch 03; 251Figure 202 Plant Sketch 04; 251Figure 203 Plant Sketch 05; 251viii ixLIST OF FIGURES LIST OF FIGURESFigure 204 Plant Sketch 06; 251Figure 205 Plant Sketch 07; 251Figure 206 Plant Sketch 08; 251Figure 207 Plant Sketch 09; 251Figure 208 Plant Sketch 10; 252Figure 209 Plant Sketch 11; 252Figure 210 Plant Sketch 12; 252Figure 211 Plant Sketch 13; 252Figure 212 Plant Sketch 14; 252Figure 213 Plant Sketch 15; 252Figure 214 Plant Sketch 16; 252Figure 215 Plant Sketch 17; 252Figure 216 Plant Sketch 18; 252Figure 217 Plant Sketch 19; 253Figure 218 Plant Sketch 20; 253Figure 219 Plant Sketch 21; 253Figure 220 Plant Sketch 22; 253Figure 221 Plant Sketch 23; 253Figure 222 Plant Sketch 24; 253Figure 223 Plant Sketch 25; 253Figure 224 Plant Sketch 26; 253Figure 225 Plant Sketch 27; 253Figure 226 Plant Sketch 28; 254Figure 227 Plant Sketch 29; 254Figure 228 Plant Sketch 30; 254Figure 229 Plant Sketch 31; 254Figure 230 Plant Sketch 32; 254Figure 231 Plant Sketch 33; 254Figure 232 Plant Sketch 34; 254Figure 233 Plant Sketch 35; 254Figure 234 Plant Sketch 36; 254Figure 235 Plant Sketch 37; 255Figure 236 Plant Sketch 38; 255Figure 237 Plant Sketch 39; 255Figure 238 Plant Sketch 40; 255Figure 239 Plant Sketch 41; 255Figure 240 Plant Sketch 42; 255Figure 241 Plant Sketch 43; 255Figure 242 Plant Sketch 44; 255Figure 243 Plant Sketch 45; 255Figure 244 A Caretaker; 269x xiFigures created by author if left unspecifiedLIST OF FIGURES LIST OF FIGURESI am incredibly lucky to have met and worked with such a lovely group of minds and hearts throughout this journey.Tijana, thank you for giving me the space to explore.Thena, being placed into your intro studio was the best thing that could have possibly happened to me. Danny, for your endless enthusiasm, constant stream of ideas, and infectious energy I am eternally grateful.Carla, thank you for your continued encouragement and positivity.This project could not have come together without the help of a number of friends in the form of inspiring conversations, pep-talks, final production assistance, and snack deliveries. Andy Grellman, Bethany Aban, Caleb van der Leek, Derek Mavis, Emilia Brasdefer, Isabelle Lussier, Kim Chan, Lee-Ann Kam, Nat Kim, Natalie Nguyen, Nick Fernando, Parker Albanese, Ranveer Singh Sandhu, Tom Foster, Tyler Dellebuur, Victoria Ng, Vincent Perron, and Zeke Kan, thank you for keeping me moving, semi-sane, and fed.And to everyone I’ve spent many 2AMs in studio listening to “The Lion Sleeps Tonight” with, thank you for the good times.xii xiiiFig 4. AcknowledgementsACKNOWLEDGEMENTS ACKNOWLEDGEMENTSxiv 1PRELUDEIncongruencies2 3Fig 5. Program CoverINCONGRUENCIES4 5Fig 6. Program pg. 1-2INCONGRUENCIESINCONGRUENCIES6 7Fig 7. Program pg. 3-4INCONGRUENCIESINCONGRUENCIES8 9Fig 8. Program pg. 5-6INCONGRUENCIESINCONGRUENCIES10 11Fig 9. Program pg. 7-8INCONGRUENCIESINCONGRUENCIES12 13Fig 10. Program pg. 9-10INCONGRUENCIESINCONGRUENCIES14 15Fig 11. Program back coverINCONGRUENCIES16 17OVERTURE.In 1913 a theatre was built in Vancouver. Over the years it has held many different identities, but it began as a performance venue for live theatre. It was commissioned by retired oil geologist, Robert McLaren, for a young starlet he had seen perform at a neighbouring recital hall. He believed she should have a place of her own in which to star.18 19Fig 12. Context Plan, VancouverOVERTUREOVERTURE20 21Fig 14. Context Plan, Grandview-WoodlandFig 13. Heritage Vancouver Archival Photos, Theatre Façade 1913OVERTUREOVERTURE22 23Georgia St. Commercial Dr.Fig 16. Context Plan, Commercial and GeorgiaFig 15. Heritage Vancouver Archival Photos, Theatre Façade 1983OVERTUREOVERTURE24 25ACT 01Rose Campbell.On January 30, 1914 actress Rose Campbell was reported missing. The theatre had opened only a few months previously with a comedy play in which she had a leading role.26 27Fig 17. Alcazar Theatre Advertisement, Vancouver Daily Mail, October 18, 1913.Fig 18. “Too Much Johnson” Advertisement, Vancouver Daily Mail, October 29, 1913.ACT 01ACT 01The play in general was received positively, however, her performance was heavily criticized.28 29Fig 19. “Too Much Johnson” Review, The Province, November 4, 1913.ACT 01ACT 01The critics’ opinions remained consistent with subsequent productions in which she starred.30 31Fig 20. Theatre Reviews, The Province, November 25, 1913.Fig 21. “The Price of Money” Review, The Province, November 11, 1913.ACT 01ACT 01On January 29, after her Friday evening performance, Campbell never left the building. This account is confirmed by all who were present that evening. When the director went to speak to her after the show she was nowhere to be found. The theatre was searched by staff and she had indeed mysteriously disappeared. When she failed to arrive to the following day’s matinee show, the incident was reported to police. Despite their best efforts to track her down, she was never seen or heard from again. 32 33Fig 22. “Actress Mysteriously Disappears,” The Province, February 3, 1914.ACT 01ACT 01In the following decades, lore spread about the theatre being haunted by her ghost. Malfunctioning lights and speakers, unexplained creaks and shadows, were all attributed to the ghost of Rose. 34 35Fig 23. “Past Last Call” excerpt, Discorder, September 1985.ACT 01ACT 01As time went on the story from which the myth of the ghost stemmed became lost and she began to exist as a being in her own right. The tale of Rose Campbell’s mysterious disappearance may have been allowed to continue to fade away as an isolated incident of an inexplicable occurrence if it hadn’t been for the caretaker.36 37Fig 24. The Caretaker’s ChairACT 01ACT 0138 39ACT 02The CaretakerIn 1982 the theatre became a music venue for punk, rock, and metal shows.40 41Fig 25. News clippings collageACT 02ACT 02It acquired a live in caretaker. An ex- architect, who, after some unsuccessful experimentation with drugs, was no longer of a state of mind where he was able to practice. He was allowed to live in the theatre in exchange for janitorial services.42 43Fig 26. Unknown newsclipping fragmentACT 02ACT 02The only caveat - there were no quarters for him to live in. He was asked to stay discreet and remain out of the way of staff and concert goers.44 45Fig 27. John McCarter, Theatre ground floor plan, photograph of the orginal blueprintACT 02 ACT 02He did this successfully for many years, cleaning during the day and disappearing into the woodwork each evening. Initially he was provided a small cot in the corner of the green room...46 47Fig 28. Cot in the green room, photographACT 02 ACT 02...but at some point this moved and no traces of his domestic life remained visible.48 49Fig 29. The green room later on, photographACT 02 ACT 02In 1995 after years of noise complaints from neighbours the music venue shut down and the caretaker was no longer required as a janitor. It is not known where he went after this, if he went anywhere at all.50 51Fig 30. “Past Last Call” excerpt 2, Discorder, September 1985.ACT 02 ACT 02In 1996 the theatre was sold to a developer who leased the building to a family that ran a cinema. While exploring the theatre in preparation for rental, the new owner came across a stack of writings by the caretaker.52 53Fig 31. The caretaker’s writings, photographACT 02 ACT 02The caretaker described the theatre he lived in and his own attempts to document the space. He wrote of a collection of models of the theatre made throughout the years and of rooms filled with artifacts of the theatre’s past. There was no physical evidence of these spaces to be found. 54 55Fig 32. A view of the theatre, modelACT 02 ACT 02The writings were largely dismissed as the ramblings of a mad man, but the new owner couldn’t quite bring himself to part with them completely. He placed them in a cupboard in the back corner of the theatre office. One filled with old mementos from the theatre’s many lives that had long been forgotten, but had never been thrown away for fear of being forgotten. 56 57Fig 33. Office millwork drawingACT 02 ACT 02Such would have likely been the fate of the caretaker’s writings too if it hadn’t been for Amy.58 59Fig 34. Office millwork drawing (open)ACT 02 ACT 0260 61ACT 03Amy HawthorneIn 2006 the owner put the theatre up for sale. The tenants were too busy to continue screening films while also running their other businesses and the owner was having trouble finding someone to take over the lease.62 63Fig 35. Theatre for sale, photographACT 03 ACT 03The 300 seat theatre had spent the last decade as a Bollywood theatre, but prior to that had been a performance venue, a small movie theatre, a performance venue again, a Bollywood cinema for the first time, a proposed development, a music venue for punk, rock, and metal shows, the home of an ex-architect turned live-in caretaker, and the haunt of a panned actress’ ghost, but now, in 2006, it sat empty. 64 65Fig 36. Harold Kalman, Raja Theatre Photograph, 2006ACT 03 ACT 03One potential buyer was Amy Hawthorne, local arts enthusiast who couldn’t bear the idea of losing her neighbourhood theatre. She hoped to reopen it as a multi-arts cultural venue and documented these ambitions on her blog. On November 3 she arranged a walk-through of the property with a realtor.66 67Fig 37. Tour with the realtor, stagingACT 03 ACT 03A realtor she cites a being “shockingly unhelpful on the subject of light switches.”68 69Fig 38. Tour with the realtor, staging (dark)ACT 03 ACT 03At 11:54am, 24 minutes into the tour, the realtor stepped outside to take a phone call, leaving Amy to explore the stage area in the dark on her own.70 71Fig 39. The realtor takes a phone call, stagingACT 03 ACT 03She recounts:“Backstage was an immense space, three stories tall. I tried to use my camera flash to see, only to discover a mess of chairs, props, and miscellany piled a decade high, impossible to navigate without a steady light...”72 73Fig 40. Amy Hawthorne, Backstage Sketch 1, 2006ACT 03 ACT 03“...I found myself in a maze of narrow corridors cluttered with relics of the theatre’s past. Small rooms I presume served as storage for stage productions...”74 75Fig 41. Amy Hawthorne, Backstage Sketch 2, 2006ACT 03 ACT 03“...I didn’t brave many of those rooms as stepping so blindly into the darkness felt as perilous as it very likely was. I might have been the first person to explore them in years.”76 77Fig 42. Amy Hawthorne, Backstage Sketch 3, 2006ACT 03 ACT 03It is unclear where Amy ended up during her time away from the realtor. “Backstage” was a tidy 3-roomed area beneath the stage that left no space to get lost within. She however, remained insistent on what she experienced.78 79Fig 43. The green room later on, photographACT 03 ACT 03Amy was unable to procure the funds to purchase the theatre and in October 2007 it was sold to a new set of developers. The site was slated for demolition and the construction of townhouses. During this period Amy continued to be in conversation with the owner as she attempted to negotiate price and payment options. Her efforts to purchase the theatre were ultimately fruitless, however, the owner continued to entertain discussions with her as her accounts of these spaces within the theatre that that certainly weren’t there reminded him of something he once read. 80 81Fig 44. The caretaker’s writings, photographACT 03 ACT 03In August 2008 pre-demolition work on the theatre began without permit.82 83Fig 45. Theatre façade, model.ACT 03 ACT 03The interior was entirely gutted. 84 85Fig 46. Theatre demolition, model.ACT 03 ACT 03The following are reconstructions compiled of fragments retrieved from the demolition waste and three of the caretaker’s writings that survived. 87THE EXHIBITS88 89Fig 48. Image 01 Fig 49. Image 02, plan detailTHE EXHIBITSTHE EXHIBITS90 91Fig 50. Image 03, stage plan (model) Fig 51. Image 04, model piecesTHE EXHIBITSTHE EXHIBITS92 93Fig 52. Image 05, model from above Fig 53. Image 06, figures in modelTHE EXHIBITSTHE EXHIBITS94 95Fig 54. Image 07, model auditorium Fig 55. Image 08THE EXHIBITSTHE EXHIBITS96 97Fig 56. Image 09 Fig 57. Image 10, light detailTHE EXHIBITS THE EXHIBITS98 99Fig 58. Image 11, clipboard detail Fig 59. Image 12, clipboard detail 2THE EXHIBITS THE EXHIBITS100 101Fig 60. Image 13, clipboard detail 3 Fig 61. Image 14, hinge detailTHE EXHIBITS THE EXHIBITS102 103Fig 62. Image 15, incongruencies Fig 63. Image 16, closed modelTHE EXHIBITS THE EXHIBITS104 105Fig 64. Image 17, magnet detail Fig 65. Image 18, model (front)THE EXHIBITS THE EXHIBITS106 107Fig 66. Image 19 Fig 67. Image 20, model support detailTHE EXHIBITS THE EXHIBITS109EXHIBIT AA TimelineI wanted to make a model of the theatre. I began by casting the site. By the time the cast was complete the moment had passed. The theatre was no longer the same theatre it was the day before. I couldn’t finish the model. Instead, I built a case for the cast and placed it behind glass. I started again.110 111Fig 69. Caretaker’s writings 1, page 1EXHIBIT A EXHIBIT AAnd again.And again.112 113Fig 70. Caretaker’s writings 1, page 2EXHIBIT A EXHIBIT AAs the models of the empty site build up the shelf grows. Taller and taller until the height of it is lost to the darkness. In the dimly lit corridor the glass provides a tangle of reflections. Looking past a narrow focus on only the grid of physical models reveals that the world that’s really there is far more complex. Versions of the theatre site begin to float in space and multiple exist simultaneously within a single display case. Each of these theatres, a moment frozen in time placed into a parallel, apparently timeless, reality. A model will exist in a case from one perspective, but not from another. Each theatre, unverifiable by physical contact, is as real as the next.114 115Fig 71. Caretaker’s writings 1, page 3EXHIBIT A EXHIBIT A116 117Fig 72. Exhibit A, a model in a case Fig 73. Exhibit A, shelf of modelsEXHIBIT A EXHIBIT A118 119Fig 74. Exhibit A, model reflections Fig 75. Exhibit A, shelf detailEXHIBIT A EXHIBIT A120 121Fig 76. Exhibit A, model reflections 2 Fig 77. Exhibit A, model reflections 3EXHIBIT A EXHIBIT A122 123Fig 78. Exhibit A, shelf detail 2 Fig 79. Exhibit A, shelf detail 3EXHIBIT A EXHIBIT A124 125Fig 80. Exhibit A, base detail Fig 81. Exhibit A, base detail 2EXHIBIT A EXHIBIT A126 127Fig 82. Exhibit A, model in a case 2 Fig 83. Exhibit A, reflections detail 4EXHIBIT A EXHIBIT A128 129Fig 84. Exhibit A, shelf detail 4 Fig 85. Exhibit A, reflections detail 5EXHIBIT A EXHIBIT A130 131Fig 86. Exhibit A, lath detail Fig 87. Exhibit A, wax model from belowEXHIBIT A EXHIBIT A132 133Fig 88. Exhibit A, a drawing through a shelf Fig 89. Exhibit A, a drawingEXHIBIT A EXHIBIT A134 135Fig 90. Exhibit A, drawing detail 1 Fig 91. Exhibit A, drawing detail 2EXHIBIT A EXHIBIT A136 137Fig 92. Exhibit A, drawing detail 3 Fig 93. Exhibit A, drawing detail 4EXHIBIT A EXHIBIT A138 139Fig 94. Exhibit A, drawing detail 5 Fig 95. Exhibit A, drawing detail 6EXHIBIT A EXHIBIT A141EXHIBIT BAn ArchiveThe back corner of the theatre office is a clutter of old props and scripts and documents and proposals. No one goes back there, except to dispose of things. To drop off something they don’t want to hold on to, but are not quite ready to throw away just yet. They never come back for it. The stuff kept piling up. The drawers wouldn’t close and the cabinets wouldn’t shut, filled with mementos of potential pasts and futures of the theatre. Many of them, things that never happened, but each of them real to someone who’s not there. I expanded them from behind. The drawer and cabinet grew deeper and deeper into the wall until all the artifacts could be contained within them. If the drawer gets any longer it will no longer be able to be fully opened without cutting a hole through the wall and the neighbouring building. It doesn’t matter, no one’s ever tried to look through the contents. They only open the door just wide enough to place more inside. 142 143Fig 97. Caretaker’s writings 2EXHIBIT B EXHIBIT B144 145Fig 98. Exhibit B, cabinet content Fig 99. Exhibit B, set model on a shelfEXHIBIT B EXHIBIT B146 147Fig 100. Exhibit B, set model Fig 101. Exhibit B, folding set (drawing)EXHIBIT B EXHIBIT B148 149Fig 102. Exhibit B, a mirrored theatre (model) Fig 103. Exhibit B, a mirrored theatre (drawing)EXHIBIT B EXHIBIT B150 151Fig 104. Exhibit B, plant sketches Fig 105. Exhibit B, site moldEXHIBIT B EXHIBIT B152 153Fig 106. Exhibit B, mold on a shelf Fig 107. Exhibit B, mold detailEXHIBIT B EXHIBIT B154 155Fig 108. Exhibit B, cabinet content 2 Fig 109. Exhibit B, a room in progressEXHIBIT B EXHIBIT B156 157Fig 110. Exhibit B, a room Fig 111. Exhibit B, walls on a wallEXHIBIT B EXHIBIT B158 159Fig 112. Exhibit B, wall content Fig 113. Exhibit B, wall content 2EXHIBIT B EXHIBIT B160 161Fig 114. Exhibit B, walls Fig 115. Exhibit B, walls detailEXHIBIT B EXHIBIT B162 163Fig 116. Exhibit B, room content Fig 117. Exhibit B, room content 2EXHIBIT B EXHIBIT B164 165Fig 118. Exhibit B, room content 3 Fig 119. Exhibit B, drawer modelEXHIBIT B EXHIBIT B166 167Fig 120. Exhibit B, drawer drawing Fig 121. Exhibit B, a drawerEXHIBIT B EXHIBIT B169EXHIBIT CA FrameThe theatre gains new life in its connection to an event. Between each concert, play, performance, the physical space is neutral, undivided, and flexible, its limits geared towards its occupation. I built a portal to the event. I sit in my room and watch the event on the stage unfold each night. If they looked up they could watch me too. They don’t. Sometimes I’ll turn on my lamp. When the theatre is dimly lit the glow of the bulb creates a faint spotlight on the stage below. 170 171Fig 123. Caretaker’s writings 3EXHIBIT C EXHIBIT C172 173Fig 124. Exhibit C, site model detail Fig 125. Exhibit C, a site model through a frameEXHIBIT C EXHIBIT C174 175Fig 126. Exhibit C, a room Fig 127. Exhibit C, seat and modelEXHIBIT C EXHIBIT C176 177Fig 128. Exhibit C, site model on plinth Fig 129. Exhibit C, a seatEXHIBIT C EXHIBIT C178 179Fig 130. Exhibit C, a frame Fig 131. Exhibit C, frame structureEXHIBIT C EXHIBIT C180 181Fig 132. Exhibit C, seat through a frame Fig 133. Exhibit C, seat through a frame (model)EXHIBIT C EXHIBIT C182 183Fig 134. Exhibit C, seat with a view Fig 135. Exhibit C, seat with a view (drawing)EXHIBIT C EXHIBIT C184 185Fig 136. Exhibit C, looking down towards stage Fig 137. Exhibit C, the stageEXHIBIT C EXHIBIT C186 187Fig 138. Exhibit C, stage detail Fig 139. Exhibit C, looking up from stageEXHIBIT C EXHIBIT C188 189Fig 140. Exhibit C, drawing detail Fig 141. Exhibit C, model detailEXHIBIT C EXHIBIT C190 191Fig 142. Exhibit C, view from a seat Fig 143. Exhibit C, view of a seatEXHIBIT C EXHIBIT C There are numerous written accounts of the theatre’s existence throughout its life. Newspaper articles, performance reviews, renovation proposals, and more, much of which resonates with a tone of unassailable institutional authority. Upon closer examination, however, an absurd disconnect between each fragment of recorded history begins to make itself apparent, bringing forward questions about the histories that are privileged. What memories are carried forward and repeated? Whose voice is dominant? How are these narratives represented and shared? The selection of stories that are collected, preserved, and purported is a conscious, deliberate act. Storytelling acts as a way of guiding a listener or reader into a world, influencing the way the past is perceived and spoken about and ultimately, the futures that might stretch forward. As writer, Gabriel García Márquez, once said, “what matters in life is not what happens to you, but what you remember and how you remember it.” In exploring the theatre, one begins to consider that perhaps there is no truth, only a dominant narrative constructed in attempt to make sense of things. One that is constantly in flux, being continuously redefined with each subsequent attempt to interpret reality. Looking past a narrow focus on only that which is being presented reveals that the world that’s really there is far more complex. 193EPILOGUE194 195APPENDICESCollected here are a series of explorations that led into, fed off of, and cross-pollinated with the preceding investigation.196 197APPENDIX AIbid.Ibid.An abbreviation for the Latin word ibīdem, meaning “in the same place.” Commonly used in scholarly writing to indicate that a reference, endnote, footnote, or bibliography citation refers to the source cited in the preceding note or list item.an assemblage of notes and essaysThe following pages contain a collection of footnotes each originally attached to a single source text. The parent text to which they refer is missing. Only the footnotes are extant. An assemblage of short essays (on the right hand pages) attempt to interpret this text of unknown provenance as an artifact of architectural discourse. The essays offer a series of fragmentary, sometimes overlapping, sometimes contradictory perspectives on the overarching ideas of truth, wonder, subjectivity, and realities (see Richard Curtis’s 2003 film Love Actually (London: Universal Pictures) for an analogous narrative structure). 198 1991. The fluctuating nature of the world is a labyrinth out of which we can never find our way: See Architecture Studio (New York, NY: Rizzoli International Publications Inc., 1994, pg. 19) for Dan Hoffman’s proclamation that: “Something is always left out in the experience of a modern building because the ideal references of the plan or elevation can never be simultaneous with our sense of inhabitation. The space between these two conditions of seeing is an impossible one; […] a trap in which one is caught between the lived space of the body and the conceptual space of the mind.” See also 38:13-40:25 in Stanley Kubrick’s The Shining (1980).2. Photography can reveal invisible entities: On page 40 of The Pencil of Nature (1844), by William Henry Fox Talbot, the first commercially published book illustrated with photography, he writes: “This is one of the charms of photography- that the operator himself discovers on examination, perhaps long afterwards, that he has depicted many things he had no notion of at the time.”3. ...this revelation has changed the way we see things: The discrepancy between the resolution of a camera and that of the human eye has allowed for the visibility of moments that exist outside of human perception. The early, long exposure photographs of Louis Daguerre contain no trace of the fast moving traffic on a busy street. The slow shutter speed erases the hustle and bustle of the crowded city, foregrounding the static elements that typically serve, merely as a backdrop for urban life. Alternatively, Doc Edgerton’s high speed photography freezes a moment of time that humans could infer, but never witness with the naked eye. FLUID PERSPECTIVES Human perception is unstable. The vantage point towards a matter has the ability to completely alter what is being seen. If we look at a maze as an example, a plan view of the complete arrangement reveals a complex artistry of carefully considered paths. From within, vision ahead and behind is obscured, fostering confusion through constriction and fragmentation. A changed perspective of the singular, unchanged entity shifts the conception of it from a thing of beauty, order, and unity, to one of chaos, disorder, and multiplicity. The development of new technologies has and continues to radically transform the ways in which we see and understand the world. The birth of film and photography, for instance, allowed for the recording of a moment in time with unprecedented fidelity. In The Pencil of Nature, William Talbot asserts that the discovery of details in a photograph that were not perceived during the moment is one of the great thrills of photography. With this statement he is referring to the ability that photographs enable people to spend more time examining a scene, taking in the aspects that were not of focus while it was being lived. This speaks to the differing levels of resolution between the camera and the eye. With vision, the center of the field of view is precise, but around the edges is the shadowy, peripheral vision. The area of sharp focus is limited at any given moment. With a photograph, a wide frame of view can be captured clearly, all at once. Talbot’s sentiment can also be applied to temporal notions of resolution. The ability of shutter speeds, both rapid and slow, to capture moments that occur outside the realm of human perception has been used as a methodology to further develop understandings of the ways in which the world works. The ability of the camera to alter our perspectives on the world can be extended from the realm of science to that of art. Georges Méliès’s films during the early days of cinema (film being a medium which was necessarily prefaced by the photograph) were some of the first to employ techniques such as splicing, double exposure, time lapse, and dissolves to advance a narrative. His surrealist, 200 201NOTES ON FLUID PERSPECTIVES4. The ability of shutter speeds, both rapid and slow, to capture moments that occur outside the realm of human perception has been used as a methodology to further develop understandings of the ways in which the world works: Étienne-Jules Marey’s chronophotographic study of animals, human locomotion, and smoke trails, Eadweard Muybridge’s investigations of animal movements and human athletic activities (most notably the discovery of the way a horse’s legs move during gallop), Albert Londe’s use of the camera as a tool to uncover the physical and muscular movements of seizure patients, and Gjon Mili’s exploration of the intricacies of movements that occur too rapidly or are too complex to discern with the naked eye, to name a few. 5. An Up to Date Conjurer: Georges Méliès’s 1899 short film uses special effects and film editing techniques to facilitate the magic trick illusions of a magician and ballet dancer.6. Things are not always, or even often as they appear, even closets: In addition to the obvious reference of the wardrobe to Narnia in C.S. Lewis’s The Lion, the Witch and the Wardrobe (London: Geoffrey Bles, 1950), see Atelier Nishikata’s White Room. In this renovation of a late 1960s house in Tokyo, Japan, minor material moves express things that are familiar, such as a door, a wall, or a column, in slightly unexpected ways. These strategies alter one’s perception of what some of the basic elements of architecture should or could be and support a reconsideration of the status-quo. 7. The camera cannot lie: Shortly after the emergence of photography as a practice, the phrase “the camera cannot lie” came into common use, evidencing the general consensus that photography served as a medium of truth. In “The Stereoscope and the Stereograph,” Oliver Wendell Homes’ newspaper sci-fi storylines can be seen as a catalyst for the world of film’s synonymy with fantasy and illusion. His development of a new visual language of cinema that fragments time and space, leant into the particularities of the medium to produce a new way of seeing and portraying our environments, rather than simply celebrating its ability to represent reality in ways that were already understood. This exploration of the medium’s potentials outside of purely verisimilar representation demonstrates the fluctuating nature of our understandings of the world, as a tool which was once understood as scientifically reliable, transcends its original pictorial practice. The illusory power of the image reduces the reliability of one’s perception. More recently, digital advances have perpetuated the interrogation of the legitimacy of the photorealistic image. On page 192 of Understanding Media: The Extensions of Man (Cambridge, MA: The MIT Press, 1994 Edition) Marshall McLuhan purports that “to say ‘the camera cannot lie’ is merely to underline the multiple deceits that are now practiced in its name.” The 1990 New York Times article by Andy Grundberg, “Ask It No Questions: The Camera Can Lie,” predicted the continued loss of credibility of the photograph as the genuine image and manipulated image become indistinguishable from one another. It asserts that future images accompanying news articles will likely be seen as illustration rather than reportage, their integrity being diminished by a climate of reduced expectations; even if the images escape alteration, shifting understandings of the medium of photography will result in photographs not seeming as real as they once did. The stable and truthful relationship cameras once established between the outside world and the mind’s eye have indeed been ruptured as increasingly advancing technologies continue to mediate experience through new optical devices.202 203Fig 145. Georges Méliès, film still, An Up to Date Conjurer, 0:16 Fig 146. Georges Méliès, film still, An Up to Date Conjurer, 0:24NOTES ON FLUID PERSPECTIVESarticle in the June 1859 issue of The Atlantic Monthly, the photograph is referred to as a “mirror with a memory.” Initially, there was a sense that the decreased involvement of the human hand8 in the production of an image, coupled with the ability to capture what the naked eye could not see, associated a sort of truth and accuracy with the medium.8. ...the decreased involvement of the human hand...: The struggle of Polaroid brand cameras during the period of transition to digital photography may be attributed, in part, to the lack of operator control they afforded. Digital photography was almost the antithesis of the polaroid which was defined by its extreme analog-ness, a degree of randomness, and its lack of reproducibility. 9. ...inventions of the mind may be more wonderful than the realized truth: In horror movies, anticipation of the thing is always more frightening than the thing itself. The scariest part is the suspense leading up to the moment you see it. What you’ve invented in your head is more specifically terrifying to you than anything that could have been realized onscreen. If we extrapolate this beyond fear, perhaps the same could be true of wonder. Imagined realities overlayed onto a space might be more wonderful because they can never be made ‘real.’1010. Imagined realities overlayed onto a space might be more wonderful because they can never be made ‘real’: The book is always better than the movie11. “Of course it’s happening inside your head, Harry, but why on earth should that mean that it is not real?”: Rowling, J.K. Harry Potter and the Deathly Hallows. London: Bloomsbury Publishing, 2007, pg. 349.204 205Fig 147. Eadweard Muybridge, “Horse in Motion” photographs, June 1878NOTES ON FLUID PERSPECTIVES12. “Imagination is a laboratory of the possible inviting us - through reverie and poetry - to give a future to the past.”: Richard Kearney’s introduction to Gaston Bachelard’s Poetics of Space (New York, NY: Penguin Books, 2014, pg. xx-xxi)13. The imagination and the imaginable can act as a methodology for exploring the tangible: See Italo Calvino’s Invisible Cities (Boston, MA: Mariner Books, 1978). During a conversation between two characters in which a series of fictitious cities are being described one character remarks to the other “Every time I describe a city I am saying something about Venice” (pg. 86).14. ...spaces have many lives: See the graphic novels Building Stories (New York, NY: Pantheon Books, 2012) by Chris Ware and Here (New York, NY: Pantheon Books, 2014) by Richard McGuire. These books illustrate the multiple points of perspective and existence over time within a single location. Taking place in a Chicago brownstone and the corner of a living room, respectively, the setting of the scenes depict space both as a backdrop for life as well as an active participant in the creation of stories. 15. Buildings can give birth to fiction: Take 33 Thomas Street in New York City for example. Formerly the AT&T Long Lines Building, housing telephone switching equipment, myths and rumors regarding its current program have arisen due to the façade’s ambiguity. Gallagher, Ryan, and Henrik Moltke. “The NSA’s Spy Hub in New York, Hidden in Plain Sight” in The Intercept. November 16, 2016.16. “Imagination was given to man to compensate him for what he is not”: Geary’s Guide to the World’s Great Aphorists (2007) by James Geary, p. 112, attributes this quote to Francis Bacon without FICTIONS In looking at film and fiction, we can begin to see how ideas about overlayed realities begin to play out in space. It’s commonly assumed that the physical reality of a space is what is ‘real’. However, when a space plays another role in a film it begins to alter people’s perceptions of that place. Even if there’s no lasting tangible, physical change that occurs, it suddenly begins to mean something different to anyone who engages with whatever media it is portrayed in, creating a palimpsest of intangible realities. Take the Harry Potter series as an example. Many scenes and storylines take place in real London locations. While the production of the story didn’t necessitate any physical changes to the space, the fiction has had a real impact on the ways people perceive and interact with it. King’s Cross Station is no longer just a train station, it’s a portal to another dimension, a site of magic and wonder and new beginnings. Storytelling and fiction also has the ability to provide alternative perspectives of places which are understood to be known or familiar. Italo Calvino’s Invisible Cities book acts as a sort of kaleidoscope of various versions of the city of Venice that may exist. Some city descriptions conjure vivid visual images while others seem to allude measured or material description, existing only in relationships, traces, or mental space. This draws attention to the city’s multifaceted nature and the number of intangible realities that exist in addition to the material. Alternatively, stepping outside of the realm of fantasy, 33 Thomas St. in New York (the old AT&T Long Lines Building) has birthed many rumors and myths regarding its program due to its untelling, windowless façade and fortress-like construction. This stands as an extreme of architecture’s ability to foster stories and create meaning. Whether intentional or not, architects build stories. Most predominant here is the theory that the building is the site of an NSA surveillance hub. This rumor has consequently affected the way people who are aware of and choose to engage with this possibility understand and act around this building. Whether there is an NSA operation based inside or not doesn’t really matter in this context because the consequences are the same. These examples begin to shed light on the the imaginative potentials that can arise from the blurring of boundaries between the binary of truth and fiction, and begin to cultivate a state of wonder at play in the spaces we inhabit. Fictions can overlay new meanings onto a space through the creation of alternate realities or act as a method of revealing and communicating various subjectivities. This necessarily changes the essence of a space. Fiction is not scientific in its approach. It does not endeavour to offer truths. It does, however, offer a way of being in the world. It enables the creation of model situations as a mode of dealing with experience through experimentation and planning: speculations, probabilities, a staging of the truth.206 207NOTES ON FICTIONScitation of the work from which it was quoted. It can also be found attributed to English writer, historian, and politician, Horace Walpole and Irish poet and playwright, Oscar Wilde, however, is also often quoted as an anonymous aphorism.17. Any efforts to discover truth through interpretation can only ever be our own constructed version of reality: See page 31 of Mallan, Kerry. Secrets, Lies and Children’s Fiction. New York, NY: Palgrave McMillan, 2013.18. The material world is plastic...: See Beatriz Colomina and Mark Wigley’s assertion that: “the archaeology of design is not a self-congratulatory, linear narrative about the steady evolution of a singular creature progressively adapting itself to the world with ever more sophisticated capacities and adapting to its own adaptations. Nor is it about the unevenness of such apparent progress with countless different directions, saps, reversals, and loss of capacities. Rather, it is the history of a question mark.” Colomina, Beatriz and Mark Wigley, are we human?: Notes on an Archeology of Design. Zürich, Switzerland: Lars Müller Publishers, 2018, pg 25.19. “If the human is a question mark, design is the way that question is engaged. An archeology of design is an archaeology of curiosity.”: Ibid., pg. 7. 20. “As far as the laws of mathematics refer to reality, they are not certain; and as far as they are certain, they do not refer to reality.”: Einstein, Albert. Lecture, Prussian Academy of Sciences, Berlin, January 27, 1921. 208 209Fig 148. 33 Thomas St. New York, NYNOTES ON FICTIONS21. ...gravity could reverse itself tomorrow: See Jeffrey Jerome Cohen’s assertion that “sometimes even writers who dwell too much on earthbound things feel a celestial pull, an invitation to a loftier perspective” in “The Pull of the Sky” in Emergence Magazine. Vol 1, (2019), 245. This sentiment also echoes the assertion by David Hume in 1777 on page 15 of An Enquiry Concerning Human Understanding (2nd edition. Edited by Eric Steinberg, Indianapolis, IN: Hackett, 1993) that “the sun will not rise tomorrow is no less intelligible a proposition, and implies no more contradiction, than the affirmation, that it will rise.” Hume purports that there is no rational basis for the assumption that future events will occur as they have in the past. As humans we tend to believe that things behave in a regular manner and that patterns will persist into the future; however any principle of uniformity in nature is unperceivable to our senses and therefore cannot be proven to exist. A desire for an organized, rhythmic world necessitates the making of conclusions through indictive reasoning, but it is notable that our assumptions cannot be taken to be truth. Reason may raise doubt around the certainty of an assumption, but the forces of nature overwhelms that artificial skepticism, and the utter agreeableness of predictability shelters us from excessive caution and suspension of disbelief.22. “there is nothing more powerful than this attraction towards an abyss”: Verne, Jules. Journey to the Center of the Earth. Oxford: Oxford University Press, 1992, pg 129.23. “If a man will begin with certainties, he shall end in doubts, but if he will be content to begin with doubts, he shall end in certainties.”: Bacon, Francis. The Advancement of Learning. London: Bell and Daldy, 1861, pg. 51. NOT KNOWING In are we human? Beatriz Colomina and Mark Wigley claim that the history of design is the history of a question mark. This suggests that to be human is to wonder about the unknown and to continually remake oneself and their surroundings in response. A desire for knowledge is a fundamental human trait; one that has spurred countless breakthroughs and innovations. Humans are constantly plagued by the need to know, invigorated by the exhilaration of discovery. Quantum mechanics, however, has shown us that there are some things that simply cannot be known (See Heisenberg’s Uncertainty Principle: one can be relatively certain of the position or momentum of a particle, but never both simultaneously). Complimentary to the desire to know is the unknown, the concept of being lost, and the imaginative potentials that come with wonder and uncertainty. In Journey to the Center of the Earth, Jules Verne writes “there is nothing more powerful than this attraction towards an abyss.” This lure of the unknown can be a fruitful realm of play. Culver City’s Museum of Jurassic Technology works within this domain by featuring exhibits that explore topics on the cusp of our cultural literacy. Here they enter a shadowy realm where fact and fiction are able to intermingle fluently illustrating the fragility of human perception and the extraordinary potentiality of imagination. In his writings on interpretation and overinterpretation, Umberto Eco critiques what he terms an “excess of wonder” or the inclination to overestimate the significance of incidental moments. He writes specifically about literary works, however his thoughts can be extended to all mediums of human composition. He argues that while multiple readings of a text may exist, the realm of legitimate interpretation is determined by the text’s intent. This position is countered by Wayne C. Booth as he differentiates between understanding and overstanding, suggesting that there is productive potential in pursuing questions about a work that the work itself does not necessarily encourage. If there is a limit to the interpretations of a work that can be discovered and revealed to others as indisputable, then all we are left with is something trying to convey a message about its own content, and nothing about the world we live in, the context within which it was created or is being perceived.210 211NOTES ON NOT KNOWINGOn the topic of the interplay between certainty and uncertainty, see The Museum of Jurassic Technology in Culver City, CA. 24. “Excess of Wonder”: this is a term used to critique wonder as a counterpoint to true, scientific advancement. See Rene Descartes’s assertion that “what we commonly call being astonished is an excess of wonder which can never be otherwise than bad.” (Descartes, Rene. The Philosophical Writings of Descartes. Vol. 1. Translated by John Cottingham, R. Stoothof, and D. Murdoch. Cambridge: Cambridge University Press, 1985, pg. 354). In Umberto Eco’s writings on interpretation and overinterpretation, he uses the term to describe the inclination to overestimate the significance of incidental moments. See Eco, Umberto. Interpretation and Overinterpretation. Edited by Stefan Collini. Cambridge: Cambridge University Press, 1992, and Eco, Umberto. “Interpretation and Overinterpretation: World, History, Texts.” Lectures at Cambridge University. March 7-8, 1990. 25. “nothing is too wonderful to be true”: Laboratory journal entry #10,040 (19 March 1849); published in The Life and Letters of Faraday (1870) Vol. II, p. 248. Jones, Bence, and Michael Faraday. The Life and Letters of Faraday. Vol. 2. Cambridge Library Collection - Physical Sciences. Cambridge: Cambridge University Press, 2010. doi:10.1017/CBO9780511709821.26. It can at times be incredibly productive to ask questions a work does not pose or encourage in itself: Wayne C. Booth illustrates this point in his 1979 book Critical Understanding: The Powers and Limits of Pluralism (Chicago, IL: University of Chicago Press): 212 213Architects Robert Magurian and Mary-Ann Ray were comissioned to design a new facade for the Museum of Jurassic Technology to upgrade the structure for seismic reasons. The exercise quickly strayed from a purely structural upgrade to an exploration into the real and the fantastical. A series of facades were developed to express the interplay between science and the mystical that occurs inside. Magurian, Robert and Mary-Ann Ray. Wrapper: 40 Possible City Surfaces for the Museum of Jurassic Technology. San Fransisco, CA: William Stout Publishers, 1999.Fig 149. Magurian and Ray, MJT facade collage, Patchwork.Fig 150. Magurian and Ray, MJT facade collage, Clamp-ons.Fig 151. Magurian and Ray, MJT facade collage, Shadow Chaser.NOTES ON NOT KNOWING“What do you have to say, you seemingly innocent child’s tale of three little pigs and a wicked wolf, about the culture that preserves and responds to you? About the unconscious dreams of the author or folk that created you? About the history of narrative suspense? About the relations of the lighter and the darker races? About big people and little people, hairy and bald, lean and fat? About triadic patterns in human history? About the Trinity? About laziness and industry, family structure, domestic architecture, dietary practice, standards of justice and revenge? About the history of manipulations of narrative point of view for the creation of sympathy? Is it good for a child to read you or hear you recited, night after night? Will stories like you - should stories like you — be allowed when we have produced our ideal socialist state? What are the sexual implications of that chimney – or of this strictly male world in which sex is never mentioned? What about all that huffing and puffing?” (pg. 243) Questions such as these may lie outside of the intention of the text, but it is equally important to consider not only that which a work has in mind, but that which it takes for granted, overlooks, or forgets. 27. “When an intelligent man goes out of his way to misunderstand, he is naturally more successful than a fool.”: Attributed to Gide, quoted on page 234 of Wayne C. Booth’s Critical Understanding: The Powers and Limits of Pluralism (Chicago, IL: University of Chicago Press, 1979).28. Linear time is an entirely human construction: See Katie Holten’s “Time to a Pin Oak,” Emergence Magazine. Vol 1 (2019), 262-265, also Widening Circles by Rainer Maria Rilke (Appendix C).WIDENING CIRCLES (a musing of time) Katie Holten’s series of drawings “Time to a Pin Oak” explores the concept of time by overlaying a narrative of the creation of the universe with one of the life of a pin oak tree. The tree experiences life in cycles of leaves growing and falling, and time slowly wrapping layers around its trunk. It’s trajectory is not linear, but one of ever-widening circles. Similarly the universe is ever expanding; galaxies recede from one another as the sense of distance within space continually shifts. In his scholium to the definitions in Philosophiæ Naturalis Principia Mathematica, Isaac Newton draws the distinction between absolute and relative time, detaching the notions of time, space, place, and motion from the form in which humans perceive them. These concepts can be recognized abstractly, but are independent from the physical movements of external bodies on which our senses depend. Absolute time is unaffected by all universal events, it cannot be stopped. It continues to flow relentlessly because it is not a physical entity that can be interrupted by the force of other objects, rather it is a setting around which events occur. It is unquantifiable by physical means. Humans are unable to realize absolute time, only to infer its passage through perceivable objects in motion. Relative time, popularly seen as time itself, is merely a representation of the passage of time; a perception of the duration between cycles of the universe. Movements which can be accelerated or retarded independently of the unceasing, incessant, and unremitting course of absolute time (think clocks running fast or slow- a true and perfect clock would tick consistently and continuously at the bottom of the ocean exactly as it would in outer space, unaffected by pressure, heat, air, acceleration or gravity). Modern, western conceptions of time are structured around a linear sensible measure- an hour, a day, a month, a year. It is directional and cumulative. A constructed counting system that seeks to precisely and efficiently quantify time as commodity. Time is money after all. However, this conception of time can be distilled to a constructed reality in response to an unfathomable one. A pin oak tree or the expansion of the universe offer a reconstructed understanding of a non-linear trajectory, but one of widening circles. 214 215NOTES ON WIDENING CIRCLES29. ...ripples on water, rings of a tree, the growth of a snail’s shell: Again, see Widening Circles by Rainer Maria Rilke (Appendix C), also the excerpt from Emily Nilson’s interview with Jordan Ewart (Appendix C).30. “Sometimes we have to retrace our steps to know where we are going”: This assertion was made by Tyler Dellebuur in reference to the creative process. One might go even further to suggest that at times one’s initial steps may not have been going anywhere at all, but it is in the process of retracing that something may be discovered. See also the untitled poem by Erin Hanson beginning “Perhaps we only leave...” (Appendix C).31. Our world is ever-expanding: On pg 26-27 of are we human?: Notes on an Archaeology of Design (Zürich, Switzerland: Lars Mul̈ler Publishers, 2018) Beatriz Colomina and Mark Wigley write: “Voyager 1, the spacecraft launched in 1977, is now beyond our solar system in interstellar space, travelling a million miles a day and continually reporting back. It is the piece of design that has reached the farthest away from us. Or, rather we are stretching ourselves out by a million miles a day.”32. A conceptualization of time suggests constructed modes of understanding are just that, constructions: Isaac Newton suggests that time is only perceivable to humans as the duration between motions, a relative being. Absolute time, however, is omnipotent, existing independently from an observer’s individual interpretation, perspective, or bias. This theorization of time suggests there are ways of the world that cannot be known or perceived. See Newton, Isaac. “Scholium to the Definitions” in Principia: The Mathematical Principals of Natural Philosophy. Translated by Andrew Motte. New York, NY: Daniel Adee, 1846.216 217Fig 152. Katie Holten, excerpt from “Time to a Pin Oak”NOTES ON WIDENING CIRCLES33. “The joint is the source of every ornament”: This is quoted in “A Meditation on the Joint and Its Holy Ornaments” (in Books & Culture. Chicago, IL, 2008, pg. 16) by Wayne Roosa, sourced from an exhibition the author attended on late 19th and early 20th century architectural drawing. The curator of the exhibition had placed this quote on the entrance wall attributing it to Louis Kahn. The text makes no mention of the writing from which it was lifted. Similar sentiments attributed to Kahn are paraphrased in other texts, again with no reference to the source material. Potential roots of the expression may be a lecture given at ETH Zurich on February 12, 1969 titled “Silence and Light” in which he is quoted saying “the joint is the beginning of ornament” and “ornament is the adoration of the joint,” or a poem written about fellow architect Carlo Scarpa (also notably the last thing Kahn wrote before his death in 1974) in which he states “the joint inspires ornament.”34. There is a desire for some notion of how isolated fragments are held together: In “A Meditation on the Joint and Its Holy Ornaments,” Wayne Roosa writes: “Absurd as it sounds on the face of it, there is in every meeting a powerful but latent set of forces. And these energies are primal, fundamental. They are about both the joy of being in relation to others and the fear of defeat by others. They indicate our constant though subliminal understanding that although we belong to the fabric of nature and being, we also feel like isolated fragments floating, and we want some notion of how things hold together.” Roosa, Wayne. “A Meditation on the Joint and Its Holy Ornaments” in Books & Culture. Chicago, IL, 2008, pg. 16. ORNAMENT If we let go, for a moment, of the traditional understanding of architectural ornament, and its associations we can consider a definition based off of Louis Kahn’s assertion that “the joint is the source of every ornament.” This frames ornament as a negotiation of two (or more) things in juxtaposition and gives it the task of simultaneously adorning and resolving. Ornament in architecture fell out of vogue during the industrial revolution, coinciding with the emergence of machine production. While previously ornament was a sign of luxury and added labour, it soon transformed to a mechanism to produce and sell more and more stuff to the masses. In his essay, “Ornament and Crime,” Adolf Loos takes this stance, purporting ornament in useful objects causes them to go out of style and become obsolete. In The Decorative Art of Today (London: The Architectural Press, 1987, pg. 54) Le Corbusier suggests that ornament was presently used as a method of disguising poor craftsmanship, concealing the flaws of cheap junk for commercial success. Kahn’s description of ornament, however, suggests a definition that stretches away from that which is closely related to decoration to one of a mediator. Although Kahn was referring to the joints between materials, his conception of ornament can be extended to joints outside of this realm: function and place, home and work, local and global, real and unreal etc. In “A Meditation on the Joint and Its Holy Ornaments” Wayne Roosa exemplifies the fence as an object that decorates, but also resolves property lines. Border checkpoints adorn the divide between countries. Political and economic ornaments of sort. On a smaller, more intimate scale, social cues can be considered a version of ornament: the inhale before one opens their mouth to speak, or the clearing of the throat, the subtle smile between strangers as they pass each other on the street. Each act acknowledges the coming together of discreet entities and begins to allow for a relationship to emerge. Georg Simmel, in “On Secrecy and Secret Societies,” asserts that all relationships rest on the presupposition that each party knows something about the other. Before any words are spoken, these gestures begin to communicate, “I have something to say,” “I want your attention,” “I mean no harm,” revealing just enough to begin. In this context, ornament can be considered that which enables a relationship. 218 219NOTES ON ORNAMENT35. Secrets exist forever in a liminal state between matter and void, never being seen as either yet still existing: For Georg Simmel all human relationships are built upon a framework of secrecy. There is always a degree of shading and intensity to which a person reveals and conceals themselves. Secrets may act as a means of setting barriers, but they also provide a seductive temptation to break through barriers by means of gossip and confession (Simmel, Georg. “The Sociology of Secrecy and Secret Societies” in The American Journal of Sociology. 11, no. 4 (1906): 441-98. Doi:10.1086/211418). In Secrets: On the Ethics of Concealments and Revelation (New York, NY: Vintage Books, 1989) Sissela Bok states that secrecy imposes both a power and a burden (pg. 36). Secrets stand at neither end of such established dichotomies, but rather embody both simultaneously. 36. ...architecture is ornament: Architectural discourse stems from the notion that small changes to the built environment produce the possibility of societal change. Mark Wigley asserts: “If we change the way we see the world perhaps we begin to think differently, and if we think differently then perhaps we dream differently, and if we dream differently then perhaps we will one day live differently.” (Lecture, Konstfack University, 2018). Architecture therefore has a position as a relational tool. It is a means to negotiate relationships between a variety of elements that compose our reality.EXACTITUDE Exactitude as an aesthetic desire is an attempt to create an illusion of perfect precision. Architecture has a long history of desire for exactitude and measure. This can be linked to a rhetoric of control, order, and cleanliness. Tolerances are veiled with caulking, baseboards, and gaskets to sustain the artifice of a static object. In The Decorative Art of Today Le Corbusier refers to exactitude as enabling “an aesthetic of purity,” associating precision with a sort of integrity. Enter the reverence of the reveal. However, a building itself sits only as one faceted representation of the depth of analysis, testing, and specifying that went into it. Thus the display of exactitude is something entirely separate from being exact. Today, architecture is increasingly entangled in the precision of computation and ever advancing technologies. The tools of the trade and trends in representation reflect and govern these interests (Cf. digital drawing as precise to the fraction of a millimeter, photography as an accurate capture of an image, photorealistic rendering software as a reliable predictor of a future image, and data driven design processes as scientific applications of researched inputs, etc.). Digital models face a particularly peculiar challenge of being necessarily precise, but simultaneously very abstract. It is possible to make a digital model that is incredibly ambiguous, without any sense of scale, materiality, or context, yet every point that makes up that model must be exactly placed into a digital three dimensional space. Because of this necessarily measured existence, digital models are often regarded as precise despite their abstractions. Alternatively, a gestural physical study model may be regarded as abstract and ambiguous, but actually offer much greater precision in terms of materiality, site, or construction method. While ambiguity is often considered to be a counter to exactitude, and taken to be a pejorative term associated with a failure in communication, clarity, or truth, this understanding rests on the presupposition that the world contains precise answers to all questions that are able to be revealed. In a world that is not stable or knowable, an embrace of ambiguity offers the potential to engage a productive tension with the unknown and work within a domain of receptive uncertainty. 220 221NOTES ON EXACTITUDE37. “Eventually everything connects – people, ideas, objects. The quality of the connections is the key to quality per se. The details are not the details. They make the design.”: This quote is attributed to Charles Eames on page 494 of Georgia Bizios’s Architecture Reading Lists and Course Outlines (Hillsboro, NC: Eno River Press, 1998).38. ...an architecture of control: See Colomina, Beatriz. “X-Ray Architecture: Illness as Metaphor” in Positions. Fall 2008, pg. 30-35 for her implication that modern architecture evolved to include a sense of control over ways of life, as well as marginalized beings within the interior.39. “our eyes are enthralled by pure forms […] a new desire; an aesthetic of purity, or precision, of expressive relationships setting in motion the mathematical mechanisms of our spirit”: Le Corbusier. The Decorative Art of Today. Translated by James Dunnett. London: The Architectural Press, 1987, pg. 114.40. digital versus physical methods: Digital models are both precise and abstract (See Appendix B). 41. “Seen from an anthropological view, technical life is inseparable from processes of hominization – inseparable, that is, from the very process by which a group of animals learned to think of themselves as human subjects distinct from an objective world.”: May, John. “Everything Is Already an Image” in Log, no. 40 (2017): 9–26, pg. 9.42. “the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the ‘authentic’ print makes no sense”: Benjamin, Walter. “Work of Art in the Age of Mechanical Reproduction” in Illuminations. New York, NY: Schocken Books, 1969, pg. 6. IMAGERY AND ARCHITECTURE In his article, “Everything is Already an Image,” John May suggests that it is impossible to separate ways of thinking from technical acts. This is a thought that mirrors those of Walter Benjamin in “The Work of Art in the Age of Mechanical Reproduction.” Benjamin purports that the rise of mechanical reproduction has brought an end to the traditional way of experiencing art, but it has also given birth to entirely new forms. Prior to the mechanization of art forms, there were some methods of reproducing images, such as lithography, however, these were arduous to produce, the number of copies that could be made was limited, and their reach was not particularly pervasive. With the advent of photography the possibility of near infinite reproduction of any given image was rapidly expanded, unique pieces had the ability to become more widespread, and now, in the digital age, a work of art can be made available to anyone with access to a screen. In regards to photography, Benjamin argued that “the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the ‘authentic’ print makes no sense.” The creator must then be aware that their creation will have the ability to be viewed by a vast range of people in a variety of contexts and must be able to facilitate its meaning despite that. In order to overcome the aura that is lost a work cannot be created with the intention of being physically unique, but must be aware of the development of a new kind of perception and anticipate its own reproduction. For architecture then, Benjamin’s texts suggest the need to evaluate theory and design in relation to the tools and trends of the discipline. In the chapter “After Image” of UN Studio’s book Design Models: Architecture, Urbanism, Infrastructure, Ben van Berkel and Caroline Bos contemplate how photography influences the ways in which architecture is seen, perceived and disseminated upon its completion. They question how the “manipulative, one-dimensional image” can be replaced with a 222 223NOTES ON IMAGERY AND ARCHITECTURE43. The camera has changed the way we see: In his 1990 book Techniques of the Observer (Cambridge, MA: MIT Press), Jonathan Crary argues that the invention of cameras transformed how vision was understood, and by extension created a whole new type of observer, even a whole new type of subjectivity. Initial camera obscuras suggested a stable and reliable relationship with the image to the outside world. It was a measurable and predictable form of representation. New optical devices such as the zoetrope and stereoscope led to a growing sense of the subjective contribution made by the observer’s imagination and their physiology. Transforming the way in which a viewer conceives of their own subjectivity and diminishing the sense of the reliability of perception.44. “after image”: This is a term used by Ben van Berkel and Caroline Bos in their book Design Models: Architecture, Urbanism, Infrastructure. (London: Thames and Hudson, 2006). They question how the manipulative, one-dimensional image might be replaced with something “intangible: the ‘after image”, the one you take home with you, an inexhaustible, ever-renewing composite of perceptions, memories, and thoughts” (pg. 370).45. The camera can act as a generative form of design: This can be evidenced in the work of John Lautner and Diller, Scofidio, and Renfro. Lautner’s work is associated with Hollywood, cinema and the screen, and is known for it’s dramatic, cinematic views that can be associated with the widescreen’s influence. DSR have a reoccurring theme in their work of the framing of the image (see the Boston ICA mediatheque’s large opening, angled down towards the water below rather than out towards the view, Blur Building’s exploration of our dependence on vision, or Slow House’s gradual reveal of the large picture window and camera projecting the mediated view at the far end of the building). more advanced, intangible ‘after image,’ “an inexhaustible, ever-renewing composite of perceptions, memories, and thoughts,” maintaining an optimistic view of the ways in which photography can be harnessed in the design process. In “Translations from Drawing to Building”, Robin Evans notes that “the peculiar disadvantage under which architects labor; never working directly with the object of their thought, always working at it through some intervening medium, almost always the drawing, while painters and sculptors, who might spend some time working on preliminary sketches and maquettes, all ended up working on the thing itself.” This paradoxical separation between the architect and the project is the foundation for Walter Benjamin’s assertion in “The Rigorous Study of Art” that architectural drawings cannot be said to reproduce architecture, rather they are what produces it in the first place. We have now entered an age of imagery where images are pervasive, overloading our news, advertisements, and social media feeds. The production of the architectural image is accordingly, more prevalent than ever as the field of photorealistic rendering is driven by the primacy of vision over other senses. Evan’s assertion can be updated to, “Architects make images, not buildings.” Images then make buildings, buildings made for the image are increasingly prevalent, buildings produce images, and images of buildings continually remake the building. Beatriz Colomina and Mark Wigley argue, in are we human?: Notes on an Archaeology of Design, that human and design engage in a perpetual feedback loop with one another, design becoming a methodology for the human to continuously redesign themselves. Image and architecture can be seen as having developed a similar reciprocal relationship as the two cyclically remake one another. The camera is made to capture images of the world, and the world responds by remaking itself for the camera, the image becoming engaged as a generative contributor to design.224 225Fig 153. DS+R, Slow House, Horizon View, photographFig 154. DS+R, Slow House, Collage of exterior perspective with shoreline vista.Diller, Scofidio and Renfro’s Slow House, Long Island, NY (1991).NOTES ON IMAGERY AND ARCHITECTURE46. “the peculiar disadvantage under which architects labor; never working directly with the object of their thought, always working at it through some intervening medium, almost always the drawing, while painters and sculptors, who might spend some time working on preliminary sketches and maquettes, all ended up working on the thing itself.”: Evans, Robin. Translations From Drawing to Building and Other Essays. London: AA Publications, 1997, pg. 156.47. Walter Benjamin purports that architectural drawings cannot be said to reproduce architecture, rather they are what produces it in the first place: See “Rigorous Study of Art: On the First Volume of the Aiinstwisseni schaftliche Forschungen,” translated by Thomas Levin, October 47 (Winter 1988). This text is a translation of Walter Benjamin’s “Strenge Kunstwissenschaft. Zum ersten Bande des Kunstwissenschaftliche Forschungen,” Frankfurter Zeitivng, 30 July 1933, appealing under the pseudonym Detlef Holz; republished in Walter Benjamin, Gesamnmnelte Schriften (Frankfurt am Main, 1982), 3, pg. 363-74.48. “The unprecedented ability to collectively construct and share images does not mean that we all see the same thing. Our self-image is multiple and ever-shifting as if we look into a vast multifaceted mirror in which the surfaces keep moving”: Colomina, Beatriz and Mark Wigley, are we human?: Notes on an Archeology of Design. Zürich, Switzerland: Lars Müller Publishers, 2018, pg 16.49. The digital world has allowed for incomprehensible scales to be subjected to a 1 to 1 exploration: See Josh Worth’s website “If the Moon Were Only One Pixel: A Tediously Accurate Scale Model of the Solar System” (https://joshworth.com/dev/DIGITAL RESOLUTION Advancements of digital tools have allowed for absurd levels of exactitude in the creation of drawings. Digital space facilitates an ability to contain incomprehensible dimensions (both expansive and minute) within the screen. Drawn to scale with absolute precision, Josh Worth’s website “If the Moon Were Only One Pixel” evidences this ability by depicting the solar system scaled to the moon as the size of one pixel. With the sun as a starting point, it takes several minutes of hyper-speed scrolling before even approaching halfway to Pluto. The infinite nature of screen space allows for this scaled representation that depicts the black space between celestial bodies as well as the planets themselves in a form that is accessible. In viewing the great expanses between planets it becomes clear why maps of the solar system are always abstracted. If drawn at a scale of 1:1.2 billion (that would put the diameter of Earth just over one centimeter or half the size of a nickel) it would take almost five kilometers (about 45 football fields) to depict the distance from the sun to Pluto. While these tools bring us ever closer to exactitude as an aesthetic desire, they also reveal the asymptotic nature of that ambition. Exactitude is an attempt to produce an image of stability and understanding in a world that is neither stable nor knowable. Luis Borges exemplifies the impracticalities of such an aspiration in his “On Exactitude in Science” a parable in which a 1:1 map of an Empire is commissioned. Not only was the map rendered useless due to its impossible scale, but it never could have achieved the exactitude it sought (regardless of the cartographers’ prowess) due to the limiting range of human perception. In extending our abilities of perception, technologies also reveal a continued inadequacy. All a thing must do to disappear in the digital age is be smaller or equal to the resolution of a pixel. Satellite imagery stands as an illustration of this. Early collection of earth imagery from the 1980s was done at a 30 meter resolution, meaning each pixel represented an area on the ground that was 30 meters by 30 meters. Thus anything smaller than that frame could be rendered invisible. 226 227NOTES ON DIGITAL RESOLUTION228 229Fig 155. The Earth and the Moon to ScaleThis image was drawn at a 1:1 scale in Rhino. It was then exported at 1:1 000 000 000. In seeing the Earth, Moon, and the space between them one begins to understand why maps of the universe are never drawn to scale.Mars’s orbit is 313 pages that way The sun is another 494 pages over there ON DIGITAL RESOLUTION ON DIGITAL RESOLUTIONpixelspace/pixelspace_solarsystem.html). The excessive amount of scrolling required to bridge the void between the discrete bodies that make up our solar system begins to illustrate why maps of our solar system are always abstracted. Arguably, however, when attempting to depict space, isn’t space the most important part? 50. Perhaps there is some worth in abstraction...: Luis Borges parable “On Exactitude in Science” (in Collected Fictions. Translated by Andrew Hurley. New York, NY: Penguin Books, 1998, pg. 325) takes cartography as an example of a situation where abstraction is not merely worth something, but necessary. Umberto Eco then belabours this point in his essay, “On the Impossibility of Drawing a Map of the Empire at a Scale of 1 to 1” in How to Travel with a Salmon & Other Essays. New York: Helen and Kurt Wolf, 1994. 51. All a thing must do to disappear in the digital age is be smaller or equal to the resolution of a pixel: See How Not to Be Seen. Hito Steyerl, Video (sound, colour), 2013. 52. Entire worlds exist within the resolution of a pixel: Early satellite imagery (Landsat Satellites 4-5 Thematic Mapper) captured imagery with a 30 meter resolution. Anything within that frame was blurred out of existence in our view of the world. Also see Charles and Ray Eames’s film Powers of Ten and the Relative Size of Things in the Universe. Video (sound, colour), 1977. 53. ...to scale: Definition 5b of “to scale” in The Oxford English Dictionary. (2nd ed. 1989. Print) states: “The verb ‘to scale’ suggests to attack with ladders.”Modern, high resolution satellite imagery can reach a 30 cm resolution (one hundred times more defined). This incredible improvement, however, highlights the depth of information that was missing from a once revolutionary technology’s vantage, and draws attention to the ability of objects smaller than a square foot to continue to not to be seen. Charles and Ray Eames evidence this further in their exploration of the relative scale of the Universe in their Powers of Ten film (1977). Beginning with shots at a familiar human scale of a man and woman picnicking in a Chicago park, the camera first zooms out to depict the scene’s context, and slowly continues until it reaches a field of view of 1024 meters, allowing the initial scene, then the Earth, then the solar system, to sequentially disappear completely into the infinitesimal. The structure then reverses itself, zooming into the man’s hand to reveal his skin cells, the molecules that make them up, and eventually the components of an individual proton at a 10-16 meter field of view. The layering of worlds that exist within worlds in the film is made possible by the ability of screen space to expand and contract infinitely. The exploration stops as the scale reaches the cusp of human knowledge in either direction, but there is a sense that the zooming could continue forever to continue to reveal these layered realities. While digital tools continue to increase the resolution at which we are able to view the world, they simultaneously reveal the illusion of our perceived progress towards total knowledge by alluding to another, deeper, implicit depth.230 231Fig 156. Eames, Powers of 10, film still. 0:34. Fig 157. Eames, Powers of 10, film still. 1:23.Fig 158. Eames, Powers of 10, film still. 4:12. Fig 159. Eames, Powers of 10, film still. 6:43.NOTES ON DIGITAL RESOLUTION232 233APPENDIX BTangentsAt 49°16’02.8”N 123°15’13.1”W a small, concrete structure sits embedded into the ground. A glass sliding door makes up the whole of the west facing façade. This door is perpetually locked. A thick off-white curtain obscures the view to the inside. If you press your face right up to the glass where there’s a sliver of a gap in the curtain, use your hands to block out the sun, squint your eyes, and tilt your head 12 degrees to the right, faint silhouettes of the darkened interior begin to take form. Rumor has it that sometimes late at night the lights inside turn on. If you’re lucky, and happen to stroll past when it’s alit, you can just make out the movements of shadows on the other side of the curtain. On a Sunday afternoon, one March 24th, a group of students claims to have seen the door left ajar. Their allegations as to what lies inside are entirely contradictory. The world within remains a mystery.*The contents of polaroid 17 could not be reproduced.234 235Fig 160. Polaroid 01 Fig 161. Polaroid 02 Fig 162. Polaroid 03Fig 163. Polaroid 04 Fig 164. Polaroid 05 Fig 165. Polaroid 06Fig 166. Polaroid 07 Fig 167. Polaroid 08 Fig 168. Polaroid 0949°16’02.8”N 123°15’13.1”W 49°16’02.8”N 123°15’13.1”W236 237Fig 169. Polaroid 10 Fig 170. Polaroid 11 Fig 171. Polaroid 12Fig 172. Polaroid 13 Fig 173. Polaroid 14 Fig 174. Polaroid 15Fig 175. Polaroid 16 Fig 176. Polaroid 18 Fig 177. Polaroid 19Fig 178. Polaroid 20 Fig 179. Polaroid 21 Fig 180. Polaroid 22Fig 181. Polaroid 23 Fig 182. Polaroid 24 Fig 183. Polaroid 25Fig 184. Polaroid 26 Fig 185. Polaroid 27 Fig 186. Polaroid 2849°16’02.8”N 123°15’13.1”W 49°16’02.8”N 123°15’13.1”WPORTRAIT OF A SMALL BLOCK PORTRAIT OF A SMALL BLOCKA 1 inch x 2 inch x 3 inch block exists in digital space. It then makes its way into the physical realm.238 239Fig 187. A Small Block, arctic view240 241Fig 188. A Small Block, composite view (digital) Fig 189. A Small Block, wireframePORTRAIT OF A SMALL BLOCK PORTRAIT OF A SMALL BLOCK242 243Fig 190. Portrait of a Small Block, printed Fig 191. A Small Block, foldedPORTRAIT OF A SMALL BLOCK PORTRAIT OF A SMALL BLOCK244 245Fig 192. A Small Block, composite view (physical) Fig 193. A Small Block, castPORTRAIT OF A SMALL BLOCK PORTRAIT OF A SMALL BLOCK246 247Fig 194. A Series of Small BlocksFig 195. Small Blocks, cast Fig 196. A Small Glycerin and Plaster BlockPORTRAIT OF A SMALL BLOCK PORTRAIT OF A SMALL BLOCK248 249Fig 197. Portrait of a Small Block, misprint Fig 198. A Small Block, miscastPORTRAIT OF A SMALL BLOCK PORTRAIT OF A SMALL BLOCKThe world is in a continuous state of transition or re-evaluation. One way of dealing with that change is by pretending it doesn’t exist and working to mitigate it. Another way of coping with the fluidity of the world is by being fascinated by it.250 251Fig 199. Plant Sketch 01 Fig 200. Plant Sketch 02 Fig 201. Plant Sketch 03Fig 202. Plant Sketch 04 Fig 203. Plant Sketch 05 Fig 204. Plant Sketch 06Fig 205. Plant Sketch 07 Fig 206. Plant Sketch 08 Fig 207. Plant Sketch 09PLANTS PLANTS252 253Fig 208. Plant Sketch 10 Fig 209. Plant Sketch 11 Fig 210. Plant Sketch 12Fig 211. Plant Sketch 13 Fig 212. Plant Sketch 14 Fig 213. Plant Sketch 15Fig 214. Plant Sketch 16 Fig 215. Plant Sketch 17 Fig 216. Plant Sketch 18Fig 217. Plant Sketch 19 Fig 218. Plant Sketch 20 Fig 219. Plant Sketch 21Fig 220. Plant Sketch 22 Fig 221. Plant Sketch 23 Fig 222. Plant Sketch 24Fig 223. Plant Sketch 25 Fig 224. Plant Sketch 26 Fig 225. Plant Sketch 27PLANTS PLANTS254 255Fig 226. Plant Sketch 28 Fig 227. Plant Sketch 29 Fig 228. Plant Sketch 30Fig 229. Plant Sketch 31 Fig 230. Plant Sketch 32 Fig 231. Plant Sketch 33Fig 232. Plant Sketch 34 Fig 233. Plant Sketch 35 Fig 234. Plant Sketch 36Fig 235. Plant Sketch 37 Fig 236. Plant Sketch 38 Fig 237. Plant Sketch 39Fig 238. Plant Sketch 40 Fig 239. Plant Sketch 41 Fig 240. Plant Sketch 42Fig 241. Plant Sketch 43 Fig 242. Plant Sketch 44 Fig 243. Plant Sketch 45PLANTS PLANTS256 257APPENDIX Cpoems and quotes258 259POEMS AND QUOTESWidening Circles I live my life in widening circles that reach out across the world. I may never complete this last one, but I give myself to it. I circle around God, that primordial tower. I’ve been circling for thousands of years and I still don’t know: am I a falcon, a storm, or a great song?-Rainer Maria Rilke, trans. Joanna Macy[untitled] Perhaps we only leave So we may once again arrive, To get a bird’s eye view Of what it means to be alive. For there is beauty in returning, Oh how wonderful, how strange, To see that everything is different But know it’s only you who’d changed.-Erin Hanson13 Ways of Looking at a Blackbird [excerpt] VIII I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. IX When the blackbird flew out of sight, It marked the edge Of one of many circles. -Wallace StevensOn the title of her book, Otolith: “An otolith. Oto, ear. Lith, stone. A tiny structure found within the inner ears of vertebrates. When a fish’s otolith is spliced, it’s possible to age it by counting annual growth rings — as you would the rings of a tree. This shape, the image of rings inside rings inside rings, stuck with me. It became an everything pattern. Islands inside islands. A ripple. Interconnections. The nothing-but-beauty of the fish’s environment physically imprinting. Every poem, a type of ring.”-Emily Nilsen, interview with Jordan Ewart for 19 Questions Blog, April 1, 2019Henry V, prologue [line 15-18, 25] O pardon, since a crookèd figure may Attest in little place a million, And let us, ciphers to this great account, On your imaginary forces work. […]And make imaginary puissance. […] For ’tis your thoughts that now must deck our kings, Carry them here and there, jumping o’er times-William ShakespeareAlice’s Adventures in Wonderland [excerpt] ‘Would you tell me, please, which way I ought to go from here?’ ‘That depends a good deal on where you want to get to,’ said the Cat. ‘I don’t much care where --’ said Alice. ‘Then it doesn’t matter which way you go,’ said the Cat. ‘--so long as I get somewhere,’ Alice added as an explanation. -Lewis CarrollWidening Circles I live my life in widening circles that reach out across the world. I may never complete this last one, but I give myself to it. I circle around God, that primordial tower. I’ve been circling for thousands of years and I still don’t know: am I a falcon, a storm, or a great song?-Rainer Maria Rilke, trans. Joanna Macy[untitled] Perhaps we only leave So we may once again arrive, To get a bird’s eye view Of what it means to be alive. For there is beauty in returning, Oh how wonderful, how strange, To see that everything is different But know it’s only you who’d changed.-Erin Hanson13 Ways of Looking at a Blackbird [excerpt] VIII I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. IX When the blackbird flew out of sight, It marked the edge Of one of many circles. -Wallace StevensOn the title of her book, Otolith: “An otolith. Oto, ear. Lith, stone. A tiny structure found within the inner ears of vertebrates. When a fish’s otolith is spliced, it’s possible to age it by counting annual growth rings — as you would the rings of a tree. This shape, the image of rings inside rings inside rings, stuck with me. It became an everything pattern. Islands inside islands. A ripple. Interconnections. The nothing-but-beauty of the fish’s environment physically imprinting. Every poem, a type of ring.”-Emily Nilsen, interview with Jordan Ewart for 19 Questions Blog, April 1, 2019Henry V, prologue [line 15-18, 25] O pardon, since a crookèd figure may Attest in little place a million, And let us, ciphers to this great account, On your imaginary forces work. […]And make imaginary puissance. […] For ’tis your thoughts that now must deck our kings, Carry them here and there, jumping o’er times-William ShakespeareAlice’s Adventures in Wonderland [excerpt] ‘Would you tell me, please, which way I ought to go from here?’ ‘That depends a good deal on where you want to get to,’ said the Cat. ‘I don’t much care where --’ said Alice. ‘Then it doesn’t matter which way you go,’ said the Cat. ‘--so long as I get somewhere,’ Alice added as an explanation. -Lewis CarrollPOEMS AND QUOTES260 261BIBLIOGRAPHIES51N4E. Reasons for Walling a House. Portland, OR: Ruby Press, 2012.A renovation of a home develops into a performance piece shedding light on the inextricable intertwining of the house’s multiple identities.Baudrillard, Jean. Simulacra and Simulation. Ann Arbor, MI: University of Michigan Press, 1995.Baudrillard suggests that reality has become substituted by simulations of reality, the two becoming indistinguishable from one another. This provides a potential framework within which ideas about reality may be interogated.Cairns, Graham. The Architecture of the Screen. Chicago, IL: The University of Chicago Press, 2013.The revolutionary language of film’s visual vocabulary influenced architecture of the twentieth century and continues to influence it today. This book examines the interrelations between the visual language of film, the onscreen perception of space, and the ways in which architecture is created and percieved.Calvino, Italo. Invisible Cities. Boston, MA: Mariner Books, 1978.Acting as a sort of kaleidoscope of all the cities that exist within Venice, this book draws attention to the city’s multifaceted nature. While some city descriptions within the book conjure vivid visual images, others seem to allude measured or material description, existing only in relationships, traces, or mental space suggesting that there are some realities that exist only in the realm of imagination. Calvino, Italo. “Multiplicity” in Six Memos for the Next Millennium. New York, NY: Vintage Books, 1993.In this collection of lectures on the values in literature Calvino felt were important for the coming millennium, multiplicity is included as a reflection of experience, media consumed, and imagination as a counterpoint to science’s sectorial and specialized knowledge. This project sees a parallel between Calvino’s assertion that multiplicity’s representation of experience is necessary to keep literature alive and architecture’s need to engage a plurality of realities.Calvino, Italo. “On Exactitude in Science” in Collected Fictions. Translated by Andrew Hurley. New York, NY: Penguin Books, 1999.A 1 to 1 scale map of an Empire proves to be impractical for use and eventually weathers to the point that the map and the empire collapse into one becoming indistinguishable from each other. This anecdote highlights the paradoxical uselessness of a “perfect” map, an idea that may then be translated to question the value placed on precision and exactitude in other fields.Colomina, Beatriz, and Mark Wigley. Are We Human?: Notes on an Archaeology of Design. Zürich, Switzerland: Lars Mul̈ler Publishers, 2018.Human and design are entangled in a perpetual feedback loop with one another; design becomes a methodology for the human to continuously redesign themselves. This project sees a similar relationship taking place between a physical reality and perceptions of that space.Cottle, Thomas J. Children’s Secrets. Garden City, NY: Anchor Press, 1980.Psychologist and Sociologist Thomas Cottle discusses the impact of secrets on the lives of children. This book theorizes on the ways event and the intangible have the ability to alter worldviews and create meaning.Danielewski, Mark Z. House of Leaves. 2nd Ed. New York, NY: Pantheon Books, 2000.An obsessive deciphering of a suburban, American home, that is impossibly larger on the inside than the outside. An interesting exploration of narrative structure. Eco, Umberto. Interpretation and Overinterpretation. Edited by Stefan Collini. Cambridge: Cambridge University Press, 1992.The intentions of a work may set limits to the possible interpretations of a text, allowing for some interpretations to be dismissed as overinterpretations. This suggests there are interpretations of a work that can be discovered and revealed to others as indisputable.Eco, Umberto. “On the Impossibility of Drawing a Map of the Empire at a Scale of 1 to 1” in How to Travel with a Salmon & Other Essays. New York: Helen and Kurt Wolf, 1994.Eco outlines a number of difficulties one would encounter that would make a 1 to 1 scale map of an Empire unfaithful. This essay continues to suggest there are pitfalls to an obsession with exactitude. Empson, William. Seven Types of Ambiguity. London: Chatto and Windus, 1947.Empson discusses ambiguity (nuance giving room for alternative interpretations on the same work) under the seven classifications of varying complexity. This project sees ambiguity as a potential tool to engaging the imagination in the experience of an architecture.Holten, Katie. “Time to a Pin Oak” in Emergence Magazine. Vol 1 (2019), 262-265.Analagous to the ever expanding nature of the universe, a pin oak records time as cocentric circles radiating outwards. Modern understanding of linear time structures our lives in terms of minutes and hours, a constructed reality that leaves little room for imagination.Huff, Darell. How to Lie with Statistics. New York, NY: WW Norton & Company Inc., 1954.Outlining the misuse of statistics and the erroneous ways data may be presented to change meaning. This illustrates how interpretation of facts can be used to distort reality.Jackson, Donald Dale. “Art Galleries for All Time” in Underground Worlds. Chicago, IL: Time-Life Books, 1982. The discovery of cave paintings has introduced algea and bacteria to the environments, inflicting more damage to them in 10 years than the natural environment has caused in hundreds of thousands. Jackson, Donald Dale. “The Lure of the Abyss” in Underground Worlds. Chicago, IL: Time-Life Books, 1982. Caves offer spctacular scenery, the opportunity for scientific marvel, and, above all, the tantilizing thrill of discovery262 263BIBLIOGRAPHY BIBLIOGRAPHYLynch, Kevin. The Image of the City. Cambridge, MA: Harvard University Press, 1960.Lynch theorizes on the ways in which people form mental maps of the city and take in information of their surroundings in different ways. This books offers a way of examining what the city means to those who live there and questioning how the city’s image might be rethought.McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge, MA: The MIT Press, 1994.McLuhan investigates the ways in which new forms of media transform the perceptions of a society. This provides a lens with which to look at architecture as a medium that may contain a palimpsest of meanings. Newton, Isaac. “Scholium to the Definitions” in Principia: The Mathematical Principals of Natural Philosophy. Translated by Andrew Motte. New York, NY: Daniel Adee, 1846.Time is only perceivable to humans as the duration between motions, a relative being. Absolute time, however, is omnipotent, existing independently from an observer’s individual interpretation, perspective, or bias. This theorization of time suggests there are ways of the world that cannot be known of perceived.Serafini, Luigi. Codex Serafinianus. Milano: Rizzoli, 2013. An illustrated encyclopedia of an imaginary world. This offers a rigorous, fantastical worldbuilding precedent.Sorkin, Michael. Twenty Minutes in Manhattan. London: Reaktion Books, 2009.The sights, events, and imaginations along a daily, twenty minute commute are carefully documented. This endeavour begins to illustrate the richness of narrative, meaning, and history within a simple fragment of the city.Turkle, Sherry. Evocative Objects: Things We Think With. Cambridge, MA: MIT Press, 2007.Objects such as a cello, ballet slippers, or a rolling pin become anchors of memory, relationships, or outlook in the owner’s life. This highlights the ways in which objects become vessels for identity and narrative and how everyday things can be examined to explore larger themes of human existence.Weschler, Lawrence. Mr Wilson’s Cabinet of Wonder: Pronged Ants, Horned Humans, Mice on Toast, and Other Marvels of Jurassic Technology. New York, NY: Pantheon Books, 1996.In Culver City’s Museum of Jurassic Technology exhibits flow between fact and fiction by exploring topics on the cusp of our cultural literacy. This offers a proxy and methodology through which to discuss the historical idea of wonder.Bachelard, Gaston. Poetics of Space. New York, NY: Penguin Books, 2014.Bacon, Francis. The Advancement of Learning. London: Bell and Daldy, 1861.Benjamin, Walter. “Rigorous Study of Art” in Aiinstwisseni schaftliche Forschungen. Translated by Thomas Levin. October 47 (Winter 1988).Benjamin, Walter. “Work of Art in the Age of Mechanical Reproduction” in Illuminations. New York, NY: Schocken Books, 1969.Bizios, Georgia. Architecture Reading Lists and Course Outlines. Hillsboro, NC: Eno River Press, 1998. Bok, Sissela. Secrets: On the Ethics of Concealments and Revelation. New York, NY: Vintage Books, 1989.Carroll, Lewis. Alice’s Adventures in Wonderland and Through the Looking Glass. London: Penguin Classics, 2012.Cohen, Jeffrey Jerome. “The Pull of the Sky” in Emergence Magazine. Vol 1, (2019) 242-249.Colomina, Beatriz. “X-Ray Architecture: Illness as Metaphor” in Positions. Fall 2008.Curtis, Richard. Love Actually. Film. London: Universal Pictures, 2003.Descartes, Rene. The Philosophical Writings of Descartes. Vol. 1. Translated by John Cottingham, R. Stoothof, and D. Murdoch. Cambridge: Cambridge University Press, 1985.Eames, Charles and Ray. Powers of Ten and the Relative Size of Things in the Universe. Video (sound, colour), 1977. Einstein, Albert. “Geometry and Experience.” Lecture at the Prussian Academy of Sciences, Berlin. January 27, 1921.Evans, Robin. Translations From Drawing to Building and Other Essays. London: AA Publications, 1997.Gallagher, Ryan, and Henrik Moltke. “The NSA’s Spy Hub in New York, Hidden in Plain Sight” in The Intercept. November 16, 2016.Geary, James. Geary’s Guide to the World’s Great Aphorists. London: Bloomsbury Press, 2007.Grundberg, Andy. “Ask It No Questions: The Camera Can Lie” in New York Times. August 12, 1990.264 265BIBLIOGRAPHY ADDITIONAL WORKS CITEDHoffman, Dan. Architecture Studio: Cranbrook Academy of Art 1986-1993. New York, NY: Rizzoli Internation Publications, 1994.Holmes, Oliver Wendall. “The Stereoscope and the Stereograph” in The Atlantic Monthly. Boston, MA. June 1859. Online. Jones, Bence and Michael Faraday. The Life and Letters of Faraday. Vol. 2. Cambridge Library Collection - Physical Sciences. Cambridge: Cambridge University Press, 2010. doi:10.1017/CBO9780511709821.Jordan, Ewart and Emily Nilsen. “Emily Nilsen” in Nineteen Questions: How Writers Become Who They Are. Online Blog. 2019. https://nineteenquestions.com/2019/04/01/emily-nilsen/Kahn, Louis. “Silence and Light” in Louis I Kahn Complete Works 1935-1974. Edited by Heinz Ronner. Basel: Westview Press, 1977.Kimmerer, Robin Wall. A Conversation with Dr Robin Wall Kimmerer. Lecture hosted by the University of British Columbia’s faculty of forestry. 2021.Kubrik, Stanley. The Shining. Film. Burbank, CA: Warner Bros., 1990.Le Corbusier. “The Decorative Art of Today” in The Decorative Art of Today. Translated by James Dunnett. London: The Architectural Press, 1987.Leonard, Michael. “Humanizing Space” in Progrssive Architecture. April, 1969: 128-133.Lewis, CS. The Lion, the Witch and the Wardrobe. London: Geoffrey Bles, 1950.Loos, Adolf. “Ornament and Crime” in Programs and Manifestoes on 20th Century Architecture. Ed. Ulrich Conrads. Cambridge, MA: MIT Press, 1970.Magurian, Robert and Mary-Ann Ray. Wrapper: 40 Possible City Surfaces for the Museum of Jurassic Technology. San Fransisco, CA: William Stout Publishers, 1999.Mallan, Kerry. Secrets, Lies and Children’s Fiction. New York, NY: Palgrave McMillan, 2013.May, John. “Everything Is Already an Image” in Log, no. 40 (2017): 9–26McGuire, Richard. Here. New York, NY: Pantheon Books, 2014.Méliès, Georges. An Up To Date Conjurer. Film. 1899.Nietzsche, Friedrich Wilhelm. The Will to Power. Translated by Walter Kaufmann and R.J. Hollingdale. New York, NY: Vintage Books, 1968.Ricoeur, Paul. “Architecture and Narrativity” in Études Ricœuriennes 2, no. 7 (2016): 31-52.Rowling, JK. Harry Potter and the Deathly Hallows. London: Bloomsbury Publishing, 2007.Shakespeare, William and TW Craik. King Henry V. London: Arden Shakespeare, 2002.Simmel, Georg. “The Sociology of Secrecy and Secret Societies” in The American Journal of Sociology. 11, no. 4 (1906): 441-98. Doi:10.1086/211418Stevens, Wallace. Thirteen Ways of Looking at a Blackbird. Nacogdoches, TX: Austin State University Press, 2013.Steyerl, Hito. How Not to Be Seen. Video (sound, colour), 2013.Talbot, William Henry Fox. The Pencil of Nature. London: Longman, Brown, Green and Longmans, 1844.Van Berkel, Ben and Caroline Bos. Design Models: Architecture, Urbanism, Infrastructure. London: Thames and Hudson, 2006.Vaughan-Lee, Emmanuel and Joanna Macy. “Widening Circles, an Interview with Joanna Macy” in Emergence Magazine. Vol 1, (2019) 251-255.Verne, Jules. Journey to the Center of the Earth. Oxford: Oxford University Press, 1992. Ware, Chris. Building Stories. New York, NY: Pantheon Books, 2012.Wigley, Mark. Friday Lecture. Lecture, Konstfack University, 2018.Worth, Josh. “If the Moon Were Only One Pixel: A Tediously Accurate Map of the Solar System.” Website. 2014. 1pixelmoon.com.266 267ADDITIONAL WORKS CITED ADDITIONAL WORKS CITED
Graduating Project
Grandview-Woodlands (Vancouver, B.C.)
eng
Unreviewed
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
University of British Columbia. ARCH 549
theatre
storytelling
history
fiction
memory
exploration
"Exhibit C"
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