The Meta-Artefacts reflecting upon the relationships between narrative fragments, exposing and unraveling the various levels of storytelling.
Tabula facade signage cracl archive#
It is a story in two parts: The Archive documents and represents various constructed histories spanning the last three centuries, told through the eyes of the house, of Ulrich ( The Man Without Qualities), and of me. In my final year of architecture school, I grew intimately familiar with a building that never was the thesis is a kind of ongoing record of a memory. It is an active excavation into the liminal void between reality and fiction, and treats each uncovered historic fragment as an opportunity for narrative sense-making. I have a number of small preclusive statements to make regarding my thesis: I’m as interested in what you make of it as I am in the making of the thing itself – if a thesis falls in the woods with no one around, does it make a sound? I should point out that my thesis is not ‘a building,’ but is about a building, or rather about many possible buildings. This is an invitation to join the discussion. They are important for maintaining a critical distance from the task at hand: skepticism weighs heavy on the potentiality of communication, but also facilitates its possibility.ĭuring this thesis, I engaged two other authors in dialogue, through the ghost of a building: Robert Musil and Johann Lukas von Hildebrandt one a writer, the other an architect one a modernist, the other baroque both Viennese and both unwittingly good conversationalists, all things considered. Discourse requires a tumbling between knowing and not knowing, epistemic ambiguity motivating the frequent switching of roles and realities.ĭoubt and uncertainty provide counterpositions to the hope and speculation continuum. Not everything need be balanced, save for two vital forces: hope, held close by the author-architect, and speculation, the readerly operation. Some semblance of balance is necessary for discourse to establish its presence. This project began with the assumption that architecture is an act of communication, a condition which presupposes certain limits regarding architecture’s embodiment and representation.
Five years into our education, we were still not quite sure what to expect from our audience, and what to give them. Many questions - all those beginning with ‘why’ and ‘why not’ - seek to confirm or deny authorial intent. Some questions have answers, more do not. During a (B.Arch) thesis, a lot of questions are asked of architecture, what it is and what role it plays, about how and how much we shape our environment, and to what extent it shapes us.
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