This thesis explores the architectural object as an aggregation of interconnected micro events over time. Methods for dealing with matter in these terms stem from particular 20th century avant-garde musical compositions and notations. In music this method exists as a compositional score which instantiates an event and its subsequent effects. In music the whole is taken to be the effect based outcome of auditory interaction over time. For example, in many of the “Phased” works by composer Steve Reich or similarly Keyboard Studies by Terry Riley, it is not so much the individual notes upon the graphic score that make up the piece, but rather their phased and cumulative overlapping sonic effects through and upon each new performance. In this thesis, architectural “material” will be organized analogically as an instrument upon which matter tends toward a particular figuration (and constant re-engagement) of the deceptive likeness of space/object.
This inquiry speculates upon the possibility of subdividing the object through derivative transforms, allowing for infinitesimal refinement of the space between that which constitutes the object. That is to ask, what is interior space if the object is reduced to the durational interaction of its own derivative parts?
Project. UPennDesign Graduate Thesis; Advisor Annette Fierro
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