Originally the thesis began as a science-fiction narrative woven into architectural discourse. A cast of characters, including relevant technology, and a keen focus on site specificity, were included as part of the story. However, through many iterative ideas, the thesis became a heuristic tool, one that readily communicates and reflects my personal take on the sublime.
Human beings identify meaning through an unconscious and conscious reading of architecture’s spatial and bodily parts. However, meaning has been subsumed by parametric technology and algorithmic logic. Aesthetic qualities are a mechanism for efficiency, nurtured from the Enlightenment period. They represent technology, progress, and rational thought. Even more, they repress heuristic thought processes and deprive architecture of its meaningful, synchronistic luster.
This thesis disrupts the layers of stability represented by Western Thought and Meaning through acts of Un-Making. Project Eidolon, a science fiction architectural narrative sited on Hashima Island, has succumbed to a planned, synchronistic deformation. The project spans three time periods and explores the concept of the uncanny in the wake of its Un-doing. The act of deformation disrupts rule-based causality, and promotes the sublime within the imagination.