Historically architecture has been used to create aesthetic conditions that conform to society’s idea of normal, normal
being ‘the common’ that is agreed upon by the multitude of diverse individuals that inhabit society. However,
spaces built through this idea of ‘the common’, embody only the assumptions and not the actual experiences and expectations
of this multitude. Space in the public realm should not conform to these questionable cultural “norms”,
rather space should reflect and empower the diverse subjectivities of its occupants. Instead of +trying
to develop forms that reflect and affirm common ideas and practices, this thesis will describe certain techniques
that will cause users to feel unsettled, through the use of
Paradoxical Maladaptive Design
unsettling of spaces is a critical act that seeks to open them up to diverse interpretations, foregrounding their
potential to support virtuality in terms of new ideas and practices.
Paradoxical Maladaptive Design is a type of design
that focuses on dismantling a user’s idea of normal through
the employment of techniques such as:
illogical drift, spatial interlacing, leftover space, system
collision, spatial tension and blurred boundaries
. It forces the user
to be confronted with the realization that their own subjective reality
is not a true reality, but one constructed from their own privileges and experiences.
This type of design does not strive to fully adapt, but instead purposefully
creates unused spaces by intersecting different temporary and semi-
permanent programs. This intersection causes new and unique aesthetic conditions
which are not set upon any precedent and exemplify the diverse set of subjects that
are meant to use the space, in turn creating a more inclusive environment.
is something that is formed based on a The sensory experience of aesthetics is one that has been
collective presumption of identical subjectivities of the researched extensively. While aesthetics can help to unravel a
people who inhabit it. Each person speaks as a distribution of the sensible it can also completely
representative of the common discourse, which is why this distribution of the sensible in order to enact change. This
when something or someone new enters society, the thesis is proposing an aesthetic that contradicts the
community sees them, initially, as a
. This commonalities of a community, in order to portray a reality
intruder is a concept commonly written about that can that differs from the one that the community functions upon.
be identified through terms such as “the other” or “the It is this contradiction that will cause members of the community
stranger”. to feel
in a given space, which is the first catalyst in
promoting diverse interpretation.
The uncanny aesthetically
an object from something heimlich to unheimlich. Although all users will experience a space
differently, architecture can become uncanny for everyone through the scope of
. In architecture, spaces of the same use
or function, all have the same attributes. They all need to function in a specified way so that the space can flow. But what happens when a space becomes comprised of excess?
is not programed a specific way for any specific use so no matter what
temporary program is inserted; the flow of the space will never be quite right and will feel uncanny.
The Grotesque is a type of aesthetic that lends way
to new realities by creating awareness for realities that
are unlike our own. It does not abstract the
familiar; rather, it portrays portions of the world
that are normally kept
from our subjective
realities. In order to dismantle man’s subjective reality, Tension is a technique that is used in many art forms to invite a viewer
the grotesque confronts the user with a reality to think critically. When a viewer sees art that contradicts their own
much different than their own. One that
expectations or experiences, they are
. This disorientation
notions they have had up until this point. This causes them question what they are seeing, question those
confrontation is what enacts the critical contradictions and question those expectations and experiences that brought
thinking needed to promote change. them to a certain assumption. This
of their assumptions
about reality sticks with them even after they have walked away from
a piece and calls into question other assumptions their own subjective reality.
The sublime is an aesthetic that elicits a grandiose emotion from its viewer. Edmund Burke’s definition of the sublime is, “a curious mingling of pain and pleasure
by terror and awe in the face of overwhelming greatness.”. This type of sublime takes on the idea of
being bot hterrifying and beautiful all at once. New aesthetic conditions being created through this thesis will be spaces that are currently being used while also
being spaces that look towards new possibilities
and ideas. When the mind sees one singular
object representing two separated
things, this duality
sense of security.
The idea of virtuality is not merely something that can be seen through a computer screen. Rather, virtuality is an aspect of reality that refers to the inherent
of reality to afford new possibilities for the future, and it can be applied to create new aesthetic spaces in architecture. These new unthought spaces can be derived from the idea of the excess. The
are the new aesthetic qualities that are invoked through the use of the grotesque, the uncanny, spatial tension and the sublime. All of these ideas create an aesthetic quality that causes the user to critically
think about the space they are inhibiting.
AESTHETICS OF DOUBT
HOVER OVER ME!!
Entrance to the Roof Area
New Roof Pulled to the City Side of Tempelhof
The concept of the sublime is represented throughout the building, specifically on the exterior and through thresholds. This is meant to unsettle the user before they enter the structure so that they can resettle themselves in a new environment.
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