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University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses from the M. Arch. Program Architecture, College of 5-3-2021 Aesthetics for the Uncanny in Architecture Andres F. Villegas University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/marchthesis Part of the Architecture Commons Villegas, Andres F., "Aesthetics for the Uncanny in Architecture" (2021). Theses from the M. Arch. Program. 28. https://digitalcommons.unl.edu/marchthesis/28 This Thesis is brought to you for free and open access by the Architecture, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses from the M. Arch. Program by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln.
Aesthetics for the Uncanny in Architecture
by
Andres Villegas
A Design Thesis presented to the Faculty of the College of Architecture at the
University of Nebraska - Lincoln
In Partial Fulfillment of Requirements for the Degree of Master of Architecture
Major: Architecture
Under the Supervision of Professor David Newton
Lincoln, Nebraska
May 2021
2 | Aesthetics for the Uncanny in Architecture 3
CONTENTS
ABSTRACT & THESIS STATEMENT| 6.
PRECEDENT STUDIES | 8.
METHODOLOGIES | 12.
SITE ANALYSIS | 22.
PROJECT PROPOSAL| 24.
CONCLUSIONS & SUMMARY | 42.
BIBLIOGRAPHY | 46.
4 | Aesthetics for the Uncanny in Architecture 5
ABSTRACT THESIS STATEMENT
This thesis puts forth an aesthetic model that explores phe- An aesthetic model built around the phenomena of the
nomenological effects of the architectural uncanny as a uncanny in architecture emancipates the public from an
disruptor of an ever-becoming standardized architecture. ever-becoming standardized architecture by applying dif-
Along with an increasing population, and the rapid digitazi- ferent techniques of spatial subversions and interventions
tion of architecture, the Building Industry has seen a drastic which influences how the subconscious perceives the built
demand for productivity and efficiency in construction. environment.
This in turn, has led urban spaces to be synthesized into
formulas and algorithms as repeating, automated recipes in
the urban fabric.
The proposed aesthetic model will re-contextualize concepts
of the architectural uncanny in our contemporary societal
and urban fabric, as a response to a built environment that
seems growingly dictated, arranged and driven by spatial
algorithms.
These concepts will then be applied in the design of a new
urban space typology that will emphasize on bringing pres-
ence and self-awareness as a response to an architecture
that seems devoid of meaning and human connection. The
uncanny is not about what is seen, but rather what is not
6 | Aesthetics for the Uncanny in Architecture 7
PRECEDENT
STUDIES
Created from multiple photographs captured in a Reassembling everyday weathered elements of the
variety of locations, each composition is shaped contemporary built environment using photo-col-
slowly, over time, layer by layer, through trial and lage and rendering techniques, Dujardin builds
error. This approach allows her to represent the edifices that look both ordinary and utterly impos-
world photographically without showing a specific sible. Through the use of different photo-collage
place, focusing instead on a mental experience, and rendering techniques, he creates a body of
exploring what is sensed rather than the imme- speculative architecture that at first glance seems
diately visible.A subtle combination of multiple totally plausible, but the more that you analyze the
perspectives, lighting sources, and distances is image and focus on the details, the more impossi-
used to produce disorientation in the viewer. The ble it becomes.
landscapes are ambivalent, familiar and yet not
identifiable. By purposely misplacing architectural elements
such as doors, walls and windows, Dujarding col-
details, ornamentation, colors and textures are ab- lages creates a conflicting tension between the
stracted away from the photograph, flattening the real and the parafictional, blurring the lines for the
image and defamiliarizing our constructed vision viewer between reality and surrealism.
of our reality.
Lauren Marsolier | Transition -Part 3 Filip Dujardin | Impossible Architectures
8 | Aesthetics for the Uncanny in Architecture 9
PRECEDENT
STUDIES
Eisenman strategically places architectural ele- Reassembling everyday weathered elements of the
ments in ways that we are not familiar with, and contemporary built environment using photo-col-
he also plays with framing different perspectives. lage and rendering techniques, Dujardin builds
For example, he tries to break up the structural edifices that look both ordinary and utterly impos-
grid by shifting and merging planes within the in- sible. Through the use of different photo-collage
terior space. Eisenman begins to alter not only the and rendering techniques, he creates a body of
materiality and form of a space, but also its func- speculative architecture that at first glance seems
tion, and how that space is perceived by the user. totally plausible, but the more that you analyze the
image and focus on the details, the more impossi-
One of his main goals in this project, is to defamil- ble it becomes.
iarize the space to the user. He seeks to snap the
masses out of their traditional construct of vision. By purposely misplacing architectural elements
such as doors, walls and windows, Dujarding col-
lages creates a conflicting tension between the
real and the parafictional, blurring the lines for the
viewer between reality and surrealism.
Peter Eisenmen | Wexner Center for the Arts Keith Krumwiede| Atlas of a New America
10 | Aesthetics for the Uncanny in Architecture 11
METHODOLOGIES “It is only rarely that a psychoanalyst feels impelled to investigate the subject of aesthetics
even when aesthetics is understood to mean not merely the theory of beauty, but the theory of
DEFINING THE UNCANNY the qualities of feeling.”
- Sigmund Freud
U N/ˌənˈkanē/
CANNY “[..] ambivalent, familiar and yet not identifiable.”
- Lauren Marsolier
The uncanny lurks between the invisible and the visible,
between the familiar and the foreign.
Within architecture, there are hidden elements that our subconscious has
grown accostumed to, and hence, the uncanny does not reveal itself. “[The uncanny relates to...] an emotional state directed towards objects that makes us feel per-
plexed, un-attached from reality.”
In order to experience the uncanny, one has to dislocate from the spatial - Mark Windsor
construct that make up the architectural normative.
“...The uncanny readily offered itself as an instrument of ‘defamiliarization’ or ostranenie; as if a
world estranged and distanced from its own nature could only be recalled to itself by shock, by the
effects of things deliberately ‘made strange.’”
- Anthony Vidler
12 | Aesthetics for the Uncanny in Architecture 13
THE ARCHITECTURAL UNCANNY
MIND MAP
PERCEPTUAL
PERCEPTUAL
CHANNELS
CHANNELS
DEFAMILIARITY SURPRISE
THE UNCANN Y
THE UNCANN Y
THE UNCANN Y
THE UNCANN Y
PERCEPTUAL
PERCEPTUAL
CHANNELS
CHANNELS
TENSION DISORIENTATION
14 | Aesthetics for the Uncanny in Architecture 15
THE UNCANNY COMPASS PERCEPTUAL CHANNELS OF THE
UNCANNY
RYTHM EMBODIMENT PERSPECTIVE
micro-subversions: operate at a smaller scale. Micro macro-subversions: occur at the scale of major archi-
subversions are more abstract, they are very subtle and tectural elements and up, ranging from doors to the
deal into personal subjectivities.These subversions are building as a whole. More tangible, overt, and easy to
perceived by our subconscious, and therefore, they are recognize. More often than not, macro subversions are
harder to be aware of its effects. Although they are dif- perceived consciously and therefore we are aware of
ficult to acknowledge in a given design, its effects are these alterations. Although they are easier to recognize,
manifested in a long period of time. its effects are weak but fast.
16 | Aesthetics for the Uncanny in Architecture 17METHODOLOGIES
EARLY STUDIES
The purpose for these studies was to explore ways in which archi-
tectural elements, such as beams, columns and stairs, could be al-
tered in order to develop uncanny experiences. By tampering with
common factors such as spacing, riser height, or the configure the
arrangement of wall and columns, our proprioception subconcious-
ly reacts to these changes.
The uncanny lays greater effect when these minute changes are
perceived by our senses. At first, one might not know what has
changed, however, there is still a feeling that something feels off,
or something does not conform to our traditional construct of
digesting space.
18 | Aesthetics for the Uncanny in Architecture 19METHODOLOGIES
PRINCIPLES OF THE UNCANNY
DEFAMILIARIZATION DISORIENTATION DISSOCIATION
The second principle identified in the aesthetic model The third principle identified in the aesthetic model of
The first principle identified in the aesthetic model of
of the uncanny is disorientation. the uncanny is dissociation.
the uncanny is defamiliarization.
The ideas of surprise within this aesthetic model stems Dissociation occurs when there a disconnection be-
The ideas of defamiliarization within this aesthetic
from Peter Eisenman’s concepts of dislocating views. tween the user’s sensory experience and the real world.
model stem from concepts of Russian Formalism of
His goal is to shock people out of their traditional It targets the spatial references our body uses in ar-
making things deliberately strange (ostranenie) in or-
construct of vision by altering the way in which our chitecture to detach the body from the mind. When
der to obtain a fresh perspective about the world.
proprioception uses architectural elements and points mind and body no longer work together to synthesize
of reference to orient our bodies as it transitions from and makes sense of space, our construct of reality is
Within the scope of this thesis, the notion of defamil-
space to space. shifted, and our perception of what we understand as
iarization is expanded by using defamiliarization as a
space fundamentally changes.
disruptor of the habitual perception of the built envi-
The principle of disorientation build upon Eisenman’s
ronment in unconventional ways in order to emphasize
concepts of dislocation by not only disrupting the way Lauren Marsolier explores this uncanny effect through
presence and self-awareness. It’s intended purpose is
in which our subconscious digests space, but also photography. This approach allows her to represent
to frame the mundane in order to create the uncanny.
disrupting how the body gets physically accustomed the world photographically without showing a specific
to space. Eisenman puts emphasis on the dislocation place, focusing instead on a mental experience, explor-
Within the proposed aesthetic model, defamiliarization
the “priviledged view,” but he overlooks other hidden ing what is sensed rather than the immediately visible.
targets the notions, expections and anticipations of the
elements is not what defines a space, but rather is the A subtle combination of multiple perspectives, lighting
‘known’ built environment that is inhabited both physi-
combination of rythmic time, sources, and distances is used to produce a feeling of
cally and mentally as we experience a space.
disconnection from the real world.
A controlled disorientation in architecture amplifies the
Photographs can seem convincingly real or strangely
uncanny experience by influencing multiple perceptual
artificial. The work of German photographer Thomas
channels rather than just combining multiple points of
Demand achieves a disquieting balance between the
view into a single framed perspective.
two. By removing details that our mind subconciosuly
perceives, Demand defamiliarizes everyday spaces
into a disquieting balance between reality and artificial.
20 | Aesthetics for the Uncanny in Architecture 21SITE ANALYSIS
he Site chosen for this thesis proposal is located in Lincoln, Nebras-
ka, at the intersection of 2 major roadways, which is 27th Street
and Capitol Parkway.
This intersection is flanked by 2 major key points, which start to
establish the program of the site.
On the south-west corner, one can find the sunken gardens, which
is tucked away and isolated from the busy highway, providing a
unique space where people can get away from the chaos of the ad-
jacent streets and provide zones for contemplation and admiration.
On the other end, on the south-east corner, a series of paths dec-
orated with lush vegetation encourage users to slow down and
deviate from their original destination.
22 | Aesthetics for the Uncanny in Architecture 23PROJECT PROPOSAL
FLOOR PLAN
These two places share a common goal which is to bring aware-
ness and presence to the user through methods of beauty, sereni-
3. ty, and ornamentation.
Following these ideas, my proposal will establish a 3rd major point
4.
which will be situated at the north-east corner of the intersection.
2.
However, access will only be allowed trough the existing under-
pass, which connects two opposite corners, which allows people to
cross the intersection without the need to stop for traffic.
1.
The project consists of 3 main contemplation zones, which I called
chambers.
Each chamber has the purpose to recontextualize our propriocep-
tion of space using the principles of disorientation, dissociation and
defamiliarization. Think of it as a palette cleanser for our digestion
of space.
Between each chamber there are intermissions which prepare the
user for intended uncanny experience.
24 | Aesthetics for the Uncanny in Architecture 25PROJECT PROPOSAL
BUILDING 1 The project begins as a deviation point from the existing tunnel, en-
couraging people to deviate from their traditional course of moving
from point A to point B.
As a new insertion point is introduced to the existing tunnel, A sense
of exploration and discovery develops, and the uncanny journey of
the unknow begins.
The first intermission disorients the rhythm of the users gait by sub-
tly changing the spacing of the expansion joints of the concrete.
As the user walks through the tunnel, he would notice this change,
bringing a sudden realization that something seems off about the
site, but can’t quite point as to what seems off. At this point, the
users proprioception becomes aware of the site.
The intermission leads to the first contemplation zone.
Using existing features of the site, such as water, a reflecting pool
is found within the chamber of disorientation. As the user stands in
the center of chamber, and looks down upon the interrupted water,
his sense of scale becomes disproportionate and unfamiliar, creat-
ing an uncanny experience of disorientation.
26 | Aesthetics for the Uncanny in Architecture 2728 | Aesthetics for the Uncanny in Architecture 29
30 | Aesthetics for the Uncanny in Architecture 31
PROJECT PROPOSAL
BUILDING 2
During intermission 2, the user passes through a stair that
subtly changes its riser length, changing the position of the
user as he walks up to the chamber of dissociation.
Using an oculus as the only reference to the outside world,
and framing the view to the skies, the user is forced to get
lost in his thoughts, almost as a hypnotizing feeling.
Since the chamber is exposed to the outside elements of na-
ture, such as precipitation and wind, is hard to distinguish
what is man-made from what is natural. This tension between
the grossly eroding concrete and the purity of the light pour-
ing from the oculus dissociates the user from its surrounding
environment, creating the uncanny effect of dissociation.
32 | Aesthetics for the Uncanny in Architecture 3334 | Aesthetics for the Uncanny in Architecture 35
PROJECT PROPOSAL
BUILDING 2
The third chamber seeks to defamiliarize our perspective by
using an unconventional narrow strip of window to frame dif-
ferent perspectives of the site. As the user deviates from its
traditional construct of perspective, he finds a new vision of
digesting space.
From the intermission space being devoid light, to the con-
templation zones defamiliarizing our perspective of the world,
our embodiment and sense of place is amplified in uncanny
ways.
36 | Aesthetics for the Uncanny in Architecture 3738 | Aesthetics for the Uncanny in Architecture 39
40 | Aesthetics for the Uncanny in Architecture 41
CONCLUSION & SUMMARY
To create a new aesthetic model through the lens of the uncanny. By using methods of subversion, I seek to explore
how architecture manifests itself through our senses, both consciously and subconciously. Spaces crafted and
designed using the phenomena of the The uncanny would bring about crucial epiphanies about our built environ-
ment, conspicuous forms, and human subjectivities. The uncanny is an important topic for aesthetics because it
represents an important part of -not only beauty- but the theory of the qualities of our feelings and experiences in
architecture.
The uncanny manifest itself in architecture through unconventional methods of defamiliarization, disorientation,
and dissociation. The uncanny is not readily apparent to our perceptual channels, but rather, it calls to be explored
and discovered, which is why its so difficult to perceive in our daily lives. As our proprioception uses architectural
references to map our space, one has to wonder how the uncanny would manifest in a rural setting where exterior
stimuli is very limited. How would acoustics and the open space affect the uncanny? Would the uncanny manifest
itself more evident or would it be harder to perceive?
42 | Aesthetics for the Uncanny in Architecture 43BIBLIOGRAPHY
1. Easterling, Keller. Extrastatecraft: the Power of Infrastructure Space. Verso, 2016.
2. Eisenman, Peter. “Visions Unfolding: Architecture in the Age of Electronic Media.” AD September–October 1992
3. Fisher, Mark. The Weird and the Eerie. London: Repeater Books, 2016.
4. Goldblatt, David. “The Dislocation of the Architectural Self.” The Journal of aesthetics and art criticism, 1991-10-01, Vol.49 (4), p.337-348
5. Krumwiede, Keith. Atlas of Another America : Being a Description of Freedomland, a Twenty-First Century Settlement Scheme for the American
Nation in the Grand Agrarian Democratic Tradition of Mr. Thomas Jefferson but Also Taking into Consideration the Current Economic and
Political Order; Comprising a Complete Graphic Discourse on the Designed Establishment of the Settlement Including Detailed Plans of
the 128 Unique Neighborhood Farm Estates, with an Appendix Containing Documents Pertinent to the Origins of Freedomland Including
“Atypical Plans,” a Meditation on the American Dream, Houses, and the Collapse of the Economy, “Supermodel Homes,” in Which the
Author Recounts His Tour through the Model Homes of Mr. David Weekley, “Six Typical Plans,” an Analysis of the Homes of the Nation’s
Greatest Builders & “Notes on Freedomland,” Constituting Opinions and Remarks on the Nature and Context of the Work, with an Afterword
by Albert Pope and a Postscript, “New Homes for America.’” Zürich: Park Books, 2016.
6. Norwood, Bryan E. “Disorienting Phenomenology:[Introduction].” Log 42 (2018): 10-22.
7. Pallasmaa, Juhani. “Space, place and atmosphere. Emotion and peripherical perception in architectural experience.” Architectural Atmospheres: On
the experience and politics of architecture. Walter de Gruyter, 2014.
8. Pallasmaa, Juhani. “Matter, Hapticity and Time Material Imagination and the Voice of Matter.” Building material (Architectural Association of
Ireland), no. 20 (2016): 171–189.
9. “‘The Parrot, the Weed, and the Sludge Mat’ – Mammoth // Building Nothing out of Something.” Mammoth the Parrot the Weed and the Sludge
Mat Comments, m.ammoth.us/blog/2010/05/the-parrot-the-weed-and-the-sludge-mat/.
10. Vidler, Anthony. The Architectural Uncanny: Essays in the Modern Unhomely. (The MIT Press, 1992).
11. Windsor, Mark. “What is the Uncanny?” The British Journal of Aesthetics, Volume 59, Issue 1, January 2019, Pages 51–65, https://doi-org.lib
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