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This exploration was taking the ideas of the two dimensional collages and trying to produce a more spatial collage. I started by going to the local goodwill, picking items at random, then putting them together without thought. Looking at it afterwards, I imagined that the fishbowl was this man’s brain with all these memories of his life as objects. In this way, I was able to create a narrative of someone’s life with cues from the fishbowl. Another interesting note is that the way I placed the objects initially for the photograph was completely unthought about, but when looking at it afterwards, it shows my inner rational personality and how I intuitively categorized the items. THREE-DIMENSIONAL COLLAGE 87
THREE-DIMENSIONAL ASSEMBLAGE Taking cues from Joseph Cornell, I decided to try my own assemblage, as a way to create new meanings for objects when they are in juxtaposition with each other. This was another way for me to work without trying to have a reason for every decision. 89
Page 1 and 2: TRANSFORMATION UNDERGROUND: SURREAL
Page 3 and 4: “The man who cannot visualize a h
Page 5 and 6: INVESTIGATION OF THE THESIS TOPIC
Page 7 and 8: VISUAL ABSTRACT 13
Page 9 and 10: IDEA MAP 17
Page 11 and 12: and imaginary as one existence. The
Page 13 and 14: a site for the “uncanny” to man
Page 15 and 16: in Artaud’s film. Artaud is intri
Page 17 and 18: in Michael Richardson’s Surrealis
Page 19 and 20: Surrealism and Architecture. Archit
Page 21 and 22: Short, Robert. The Age of Gold: Dal
Page 23 and 24: VISUAL STUDIES - PASSAGE OF TIME 45
Page 25 and 26: CONCLUSION Conducting scholarly res
Page 27 and 28: SITE ABANDONED UNDERGROUND SUBWAY T
Page 29 and 30: SITE DATA - PHOTOGRAPHS 57
Page 31 and 32: SITE ANALYSIS 61
Page 33 and 34: PROGRAM The programmatic function f
Page 35 and 36: PROGRAM + SITE FIT ANALYSIS 69
Page 37 and 38: METHODOLOGY My process throughout t
Page 39 and 40: AEROGRAPHY use of a 3D object as a
Page 41 and 42: CUT-UP TECHNIQUE text is cut up and
Page 43: OUTAGRAPHY the object of the image/
Page 47 and 48: STUDY ONE 93
Page 49 and 50: STUDY THREE 97
Page 51 and 52: EXPERIENTIAL MOMENTS Using the 4”
Page 53 and 54: EXPERIENTIAL MOMENTS 105
Page 55 and 56: EXPERIENTIAL SECTION Using the expe
Page 57 and 58: A FROZEN VAULT OF REPORTS first spa
Page 59 and 60: A GARDEN OF BROAD INSTRUMENTS garde
Page 61 and 62: A POOL OF EMPTY CURTAINS bedroom th
Page 63 and 64: THE FLOOR OF DROWSY WHIRLPOOLS lay
Page 65 and 66: AN AUDITORIUM OF DESERTED EYES thea
Page 67 and 68: CONCEPTUAL SECTION This diagrammati
Page 69 and 70: GROUND PLAN The site is located on
Page 71 and 72: FLOOR NEGATIVE TWO The different ho
Page 73 and 74: SECTIONAL VIEW OF THE HOSTEL This s
Page 75 and 76: BEDROOM OF MOLTEN MEMORY 149
Page 77 and 78: POOL OF EMPTY CURTAINS 153
Page 79 and 80: FLOOR OF DROWSY WHIRLPOOLS & MOUNTA
Page 81 and 82: CONCLUSION OF THESIS SEMESTER The p

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