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WAYS OF MAKING

HOME in the transitory house

a

catalogue

of

ingredients


WAYS OF MAKING

HOME in the transitory house a catalogue

of ingredients

Mimi Cho


For the wandering nomads – may you feel home wherever you go


The mak ing of this catalogue involved the guidance and suppor t of lec turers, friends and family... Thank you Robyn Creagh Stephen Neille Hami James-Dentith Herarn Perera Mar y Ong Frazer Macfarlane Amanda Hendr y Rosie Douglas Dennis Silva Jess Radici Jamie Lim Bek Izzard Cheyenne Lee Mum and Dad


CONTENTS CHAPTER

PAGE

INSPIRATION

3

THE CATALOGUE

5

THINKING ABOUT HOME

6

A HOUSE IS NOT A HOME

8

MAKING HOME

10

THE MEAL

12

IMAGINING RECIPES

58

TALKING RECIPES

72

LIST OF IMAGES

74

REFERENCES

76

1


2


INSPIRATION The inspiration for this catalogue has stemmed from my own experience. My life so far has been one constant relocation; resulting in the arguably worldly yet displaced person I am today. I made my first cross-continental move during infancy, which was shortly followed by four major home shifts before the age of five. For seven years I happily remained in one place – this is the longest I have experienced one home. As I entered my teenage years my nomad life began. In the last ten years I have moved between two countries, three cities, and ten homes – basically a home a year. It shocks me now to pause and think about it. I reflect on experiences I had in each home, belongings and memories I very likely lost, and reasons why I was faced with the act of displacement so many times. I question the past: Did I manage to create home in each place? Did I ever experience home? I also question the future: Will I ever feel at home? How can I make home?

3


4


THE CATALOGUE The catalogue opens with a brief story that explains why I am interested in making home in the first place. An introduction to philosophies of home then leads to a discussion of what makes a house a home and what does not before introducing my own home-making ideas. A guide to navigating the catalogue precedes a recipe and ingredients index, which is a table that shows the relationships of the senses and themes of home that form this catalogue. Each recipe or sense heads a chapter to which relevant ingredients or themes apply. In order to demonstrate the application of the senses and themes, and thus the catalogue, I have explored the making of home through a hypothetical transitory house. This sample recipe is presented in association to the senses and accompanied by a descriptive text that identifies the themes within it. The catalogue concludes with a discussion about the ingredients and recipes imagined throughout its chapters. Questions are answered, questions are asked and thought proceeds...

5


THINKING ABOUT HOME Great thinkers of the past century have embarked on thorough explorations of the notion of home – what home means and how to feel the sense home. For Kent Bloomer and Charles Moore home is a metaphor for the body 1. For Sigmund Freud it is the subconscious2. For Martin Heidegger and Christian Norberg-Schulz to inhabit the home is to inhabit the world 3. For Gaston Bachelard home reveals the inner most sanctum of being 4. Edward Relph suggests home is the foundation of our identity5 Likewise, Yi Fu Tuan discusses home as a narrative of self6. Do you notice similarities? Would you agree that all of these philosophies address a presence of self within the domestic realm? Now what is this self within the domestic realm? Is it body? Mind? Way of life? Inner feelings? Past history? Present story? How would these questions affect your way of thinking about home?

6


Bloomer & Moore

Freud

metaphor for the body

the subconscious

BODY

MIND

Heidegger &

Norberg-Schulz

Bachelard

to inhabit the inner most home is to sanctum of being inhabit the world

WAY OF LIFE

INNER FEELINGS

Relph

Tuan

foundation of our identity

narrative of self

PAST HISTORY

PRESENT STORY

7


A HOUSE IS NOT A HOME Contemplate the words 'house' and 'home'. Can these words be used interchangeably, as if they are one in the same, or are they polar opposites? When you contemplate house does your mind fill with images of building structure and dĂŠcor styles? When you contemplate home do you reminisce a room filled with loved ones or moments of comfort and belonging? If you answered yes, you would agree with me that house implies physical form while home implies emotional attachment. The Webster Universal English Dictionary definition of 'house' as “a building to live in, especially by one person or familyâ€? (Geddes and Gross et 2010) prompts the idea that the house is a physical shelter built for the sole purpose of human habitation. This idea is accompanied by connotations of house being a mere commodity and material structure that has no association with emotion or attachment to space. Home, however, connotes a less tangible more complex meaning as a concept or state-of-being. Home ventures beyond the physicality of house through personalisation of place. This intimate process adds layers of emotional value to a house by allowing for meaning to develop from experiences of ownership, ritual, memory, privacy and security, and comfort and delight. 8


These senses of home, identified through a collection of literary studies, are discussed throughout the catalogue; a chapter is dedicated to each. People who own, build or furnish their dwellings have the power to create for themselves these senses of home. What about those who are not capable of owning, building or furnishing their residence due to financial, physical or social circumstances? Such people live in boarding houses, hostels, housing (compounds) provided by employers, community housing, shelters, reform centres and, in extreme cases, detention centres. If a 'house' is “a building to live in, especially by one person or family�, all of these places are houses... of a transitory nature. Let's call them transitory houses. They are 'temporary places of residence' but beware, a transitory house is not a transitional house. Yes, they are both temporary places of residence and they both lack the senses of home, but the difference is that a transitional house intends to provide a preparatory transition experience between the occupant's previous and subsequent houses while a transitory house is not concerned with experiences beyond the current state of occupation. You could say that a transitory house is a less considerate environment than a transitional house. This far from nurturing environment that lacks the senses of home greatly hinders the transitory house in the homemaking process. 9


MAKING HOME Others have already explored the home-making process. Looking at precedents show that the home-making process requires a set of attributes, qualities or components to be implemented in a thoughtful strategic approach that extends beyond physical constraints of a space or structure. In 'A Pattern Language', Christopher Alexander identifies 253 architectural design “patterns” 7 of which I believe 29 to be highly applicable to the home-making process. Each “pattern” is explained in an instructional tone with footnotes that reference and suggest collaboration with other “patterns”. Donlyn Lyndon and Charles W. Moore took a more poetic approach in narrating eight themes and six compositions in 'Chambers for a Memory Palace' (their idea of home) 8. Their chapters are written as historical narratives that discuss a myriad of exemplars that are illustrated through modest sketch drawings. Although one may seem more prescriptive than the other, both are home-making approaches that I believe begin with metaphoric ingredients that make recipes for the meal of home. In Alexander's meal the ingredients are patterns while in Lyndon and Moore's meal the ingredients are themes.

10


From these precedents and more specific case studies of home in the transitory house, I have developed my own set of ingredients and recipes for homemaking tailored to the transitory house. The five senses of home introduced on page 8 are my home-making recipes. They are created with ingredients or themes of home that emerged from case studies of transitory houses of my life. These themes and recipes have been compiled in this catalogue in a way that I hope may be useful for both user and designer. In transitory houses, there can be a case of misunderstanding between user and designer. The user may not live in the space the way the designer intended and the designer may not entirely comprehend the user's physical and emotional living requirements. In a situation where the user and designer are from different social or cultural backgrounds there is a much greater chance of this misunderstanding occurring. This catalogue has been created in hope of encouraging an understanding between user and designer. This catalogue may be viewed as a tool for understanding each other's ideals of home. It wishes to be read more than once; referred to as a reminder of user and designer home ideals; an instigator of thought regarding how we experience and make home.

11


THE MEAL From my reading of the texts and case studies mentioned on pages 10 and 11, I have established five recipes for the meal of home. Each recipe requires certain ingredients and some ingredients occur in more than one recipe for various results. The table on the opposite page shows the relationships of the recipes/senses and ingredients/themes. Each recipe/sense heads a chapter to which relevant ingredients/themes apply. This table is not intended to be prescriptive but rather suggestive for visualizing these relationships. It is a tool to ignite thought about these relationships, and is therefore integral to the function of the catalogue. As the catalogue is for both user and designer, I could prescribe a lense of view for each, but (a) that would contradict its suggestive nature, and (b) each reader naturally comes equipped with their own lense. The senses and themes in the pages to come have been written as neither user nor designer yet for both. If you are a user, I hope these narratives encourage you to reflect on what makes home for you, or rather, how you make home and what aspects of home already exist where you live. If you are a designer, I hope these narratives encourage you to reflect how you design home, how you might vary how you design home and whether there is more than one way to inhabit a home you design. 12


CHAPTER

page

RECIPE/SENSE Ownership

Ritual

Memory

Privacy & Security

Comfort & Delight

SECTION

page

INGREDIENTS/THEMES 14

26

34

40

48

Identity in the Collective

16

Gateways

18

Wall as Canvas

20

Furniture as a Tool for Territorialisation

22

Operable Component

24

Operable Component

24

Furniture as an Instigator of Activity

28

Coming – Leaving Home

30

Wall as Canvas

20

Operable Component

24

Operable Component

24

Material Thickness & Texture

42

Wall as Anchor

44

Operable Component

24

Window to the World

52

Private Space with a Public View

54

Tree of Life

56

13


Ownership Ownership entails a sense of authority; to feel in control and able to make physical claim on a space. In a house this claim is on property, whereas in a home it is on appropriated territory. Today, house is viewed as a commodity involving substantial financial commitment; an investment of financial resources that yields monetary profit. Home, however, involves commitment not of money but of time and emotion. It is a place to invest dreams, hope and care. Through this investment home becomes an appropriated territory. “The term appropriation in the general sense of its etymological root, the Latin 'appropriare' means 'to make one's own.�9

Right: Ownership - digital collage, 2011.

14


Identity In The Collective Sense of home in the collective dwelling is parallel to sense of identity. Therefore, in attempting to identify sense of home in the dwelling we are actually identifying sense of identity. A physical dwelling can be likened to a human being. On the inside, vulnerable inner feelings and true identity are contained, while on the outside, the skin or shell protects and represents, without exposing, the identity within.

Left: Borneo MVRDV architecture Amsterdam 1996/1999 Right: Birds eye view of an Immigration Detention Centre, Woomera 2011 16


Gateways Gateways define thresholds while thresholds define domains or territories. A gateways has the power to make the first statement about what lies beyond the threshold as a transient space that invites, intrigues or intimidates. In the nature of transience, a gateway contains the ritualistic practice of entering and leaving. It is a place to mentally prepare for the outer world or shed from the day that has been. At the gateway to the home, thought and object are gathered and discarded in anticipation and awareness of the passing through one world to another.

Left: Schroder House Gerrit Rietveld Utrecht 1924-1925 Right: Gate to my patio, Perth 2011

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Wall As Canvas with Surface Protrusions & Intrusions that Create Opportunities for Memory & Ownership Walls can showcase personal souvenirs, subsequently narrating fragments of a person's life. Here walls are like pages of a book; the ornaments and embellishments are the words. Here walls speak. The display of the past and subsequent identity; where memories of human life are gathered. Objects are gathered at the edges of space to mark human occupation as it fills the space in everything that is still.

Left: Kenig Residence Slade Architecture New York 2007 Right: Travel souvenir hangs off a street-front exterior wall, Perth 2011 20


Furniture As A Tool For Territorialisation Much like surface protrusions and intrusions certain types of furniture can create opportunities for memory and ownership. Cupboards can be made to contain personal souvenirs while shelves can be made to display them. You could say that furniture can invite objects to collect with or in them in an act of territorialisation. In this way furniture can be a bearer of opportunity for the claiming of space where objects act as physical markers and mental stimuli of the associated identity. Furniture can also inhabit space on behalf of an individual; almost like guarding space in the inhabitant's absence.

Left: UnitĂŠ d'Habitation Le Corbusier Marseilles 1946-1952 Right: Personal mementos sit atop my TV cabinet, Perth 2011 22


Operable Component Operable components adapt the built environment to alter and subsequently personalise space to express self. This is usually a time specific expression of self in response to moods and desires of the moment. Via the operable component the inhabitant may communicate to those outside the private domain an open welcoming mood or a desire for privacy or seclusion. The operable component gives the inhabitant freedom and power to control, and therefore feel a sense of ownership of the residence.

Left: Gucklhupf Hans Peter Wรถrndl Vienna 1993 Right: Wardrobe door used to enclose boarding house 'cube', Brisbane 2002 24


Ritual The motions of the day narrate the ways in which we dwell. Sleep position orientates bed placement; order of undressing, bathing and redressing determines the intimate nature of bathing and dressing spaces; time of day for reading and writing decides which wall to punctuate with a window and how much light should be let in by the size of the window. As the home narrates the person's life, the person's actions narrate the spaces that make the home. For an optimal ritual experience within the home the user must be as equally aware of the designer's intents as the designer must be aware of the user's dwelling practices. “Appropriation is rooted in action, in the dialectical practices of everyday life.�10

Right: Ritual - digital collage, 2011.

26


Furniture As An Instigator Of Activity In the dwelling, furniture can invite all sorts of activity. In an empty room with seemingly no purpose, furniture can be placed in a suggestive manner. If a desk with a chair tucked underneath is placed by a window you can be almost certain that a person will sit down to write a letter or diary entry. If an armchair is placed by the same window you can be almost certain that a person will sit down with a book to read. This is the suggestive power of furniture as an instigator of activity.

Left: Furniture House 1 Shigeru Ban Yamanashi 1995 Right: Patio furniture, Perth 2011

28


Coming – Leaving Home Do you look froward to embarking on the journey to and from your front door? Do you want to travel the footpath? Do you think there should be an indication or even promise of something worthwhile waiting at the destination? Do you think that the journey itself should entice the traveller? Imagine a path guided by the eye and then the foot. A journey along a travel space that sees changing surfaces, light and volumes. Experience an anticipation of the destination (the private gateway or the public street) as well as an awareness of a change of spatial experience awaiting.

Left: Eames House Charles and Ray Eames Los Angeles 1949 Right: Footpath from the main road to my front door, Perth 2011 30


Operable Component See page 24.

32


Memory Human beings are visual creatures. Memory is attached to a mental catalogue of imagery that traces places of our past. These images are how we preserve our memories. They collect in an automatic memory bank where home is the guardian of memories and objects and surfaces are agents of instigation. “A house constitutes a body of images that give humankind proofs or illustrations of stability.�11

Right: Memory - digital collage, 2011. 34


Wall As Canvas with Surface Protrusions & Intrusions that Create Opportunities for Memory & Ownership See page 20.

36


Operable Component See page 24.

38


Privacy & Security As guardian of the subconscious and inner most sanctum of being, home is protector of the most vulnerable parts of self. If you don't expose your vulnerabilities where you don't feel safe, you must feel safe in the home that contains them. Like a loyal friend whom you can trust with a secret, the home should consist of intimate spaces where you can withdraw within your thoughts. Overall, the home must exude a sense of assurance that you are safe from intruders and other undesired forces of the outer world. “To enclose a space is the object of building, when we build we do not but detach a convenient quantity of space, seclude it and protect it.�12

Right: Privacy & Security - digital collage, 2011. 40


Material Thickness & Texture The thickness of the window frame brings to light the thickness of the wall, emphasising a physical barrier from outer forces, which enforces sense of security and sense of stability. Texture comes from material of choice and the manner in which it is treated. Texture means character; character provides something to try to relate to, which leads to an identification of self in space. A textured surface triggers memory in this mental search for familiarity. Bear in mind, the thickness and texture of the barrier is not limited to one material or component. Furniture such as cabinets, shelves and chairs can be built into the wall in ways to create this thickness and texture.

Left: Fallingwater Frank Lloyd Wright Pennsylvania 1934-1948 Right: The window layers the view of the tree outside, Perth 2011 42


Wall As Anchor The wall is a powerful building component. A strong distinct wall has the ability to anchor a space. With other objects or components feeding off or framing it, such a wall can become an embodiment of stability and permanence. Material thickness and strength, sometimes perceived, can determine a 'wall as anchor'. Generally, a wall that is structurally sound possesses a distinct anchoring strength. In some cases, a wall may not in fact be structurally sound but can be made to appear to possess this quality. This demonstrates how the anchoring quality may be literal or perceived. Nevertheless, whether structurally or aesthetically anchoring, the wall as anchor is an embodiment of stability and permanence which are psychological feelings that contribute to the sense of privacy and security.

Left: Glass House Philip Johnson Connecticut 1949 Right: This red wall can be a feature or background, Perth 2011 44


Operable Component See page 24.

46


Comfort & Delight In physical terms we use comfort to describe a state of ease and satisfaction of bodily wants, with freedom from pain and anxiety. In psychological terms we use comfort to describe a freedom from worry and disappointment. However, when delight is brought into the picture it highlights that the interest is not purely on the physical or psychological aspects, but rather on the undefinable and unpredictable moments of pleasure that occur through true comfort. Like an unexpected visitor who comes bearing gifts, think of dappled light reflected off a pool of water in gentle streams that project playful patterns on a bare ceiling. “Ah! There is nothing like staying at home for real comfort.�13

Right: Comfort & Delight - digital collage, 2011.

48


Operable Component See page 24.

50


Window To The World It is human nature to want to know what is happening outside the room that holds us. Just as we desire to feel that we belong in a place, we desire to know that we are part of the world outside. The window provides this desired connection between inside and outside. It also offers a portal for escape – eradicating any sense of entrapment. The window frame punctuates the room and the window panes open the room to the world. Windows can open to views of other lived buildings or outer spaces (natural and manmade). The view reminds us of the world we live in.

Left: 4 x 4 House Tadao Ando Kobe 2004 Right: Boarding House window views a courtyard, Brisbane 2002 52


Private Space With A Public View Being conscious of living in the collective involves maintaining a connection with others from within one's own private boundaries. This boundary is physical but not impermeable. It is visual as well as implied. Boundaries, respected due to long established conventions of public and private space, are a fundamental aspect of living in a community. At times one should have the option to interact with the collective from within a private boundary. Private space with a public view addresses the choice of experiencing the collective from a semi-removed distance almost as an audience.

Left: Borneo MVRDV architecture Amsterdam 1996/1999 Right: I enjoy reading with a coffee out on my patio, Perth 2011 54


Tree Of Life A leafy green tree softens a building and says “there is life here”. A well proportioned building to a tree (and vice versa) says “there is a balance of life here”. When harmonious, the natural and man-made can complement each other to create a warm domestic environment. On the outside the tree completes the picturesque scene of home as sunlight casts shadows of its branches and leaves to signify the time of day. At night branches and leaves are illuminated by warm domestic lights, adding a depth to the otherwise non-dimensional darkness. Seen through the window from the inside the tree is an agent of mother nature that is welcomed into the home. Shadows and streams of sunlight filter in through the window as a gentle reminder of the connection to life in the outer world.

Left: Kidosaki House Tadao Ando Tokyo 1982-86 Right: At night the tree forms a soft silhouette on the window,

Perth 2011

56


IMAGINING RECIPES To visualise the application of the senses and themes, and thus the catalogue, let's imagine home in a hypothetical transitory house. In emphasis of a suggestive non-prescriptive nature let's make this hypothetical transitory house a formless “chamber” in a location-less site. In order to visualise the “chamber” with some realism let's add a client and site. So the “chamber” will be a residence for a single male adult asylum seeker living in mandatory immigration detention in the rural desert plains of Western Australia. The hypothetical site will resemble the barren desert settings of the Curtin IDC and Leonora APOD where the “chamber” will attempt to apply the ingredients of this catalogue following the suggested preparation methods of the recipes to create the meal of home. The “chamber” will be presented from five perspectives in association with the five senses of home and will be accompanied by descriptive texts that will identify the themes within each perspective. The perspectives are best understood in conjunction with the story 'A Home for One' on page 60.

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asylum seeker An individual who is seeking international protection. In countries with individualized procedures, an asylum seeker is someone whose claim has not yet been finally decided on by the country in which he or she submitted the claim. Not every asylum seeker will ultimately be recognised as a refugee, but every refugee is initially an asylum seeker.14 mandatory immigration detention Australian law requires the detention of all non-citizens who are in Australia without a valid visa (unlawful non-citizens). This means that immigration officials have no choice but to detain persons who arrive without a visa (unauthorised arrivals), or persons who arrive with a visa and subsequently become unlawful because their visa has expired or been cancelled (authorised arrivals).15 IDC Immigration detention centres primarily accommodate people who have overstayed their visa, breached their visa conditions and had their visa cancelled or have been refused entry at Australia's entry ports.16 APOD There are also a number of low security immigration detention facilities that are classified by the Department of Immigration and Citizenship as alternative places of detention. People detained in such facilities remain under supervision and are not free to come and go.17

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A HOME FOR ONE His sandals brush along the sandy red dirt until he reaches a familiar place. Nearing his destination, he recognises a garden bed amongst the row of many. Glimpses of green, red and yellow glisten under the desert sun. He pauses when he reaches the gateway as the red dirt changes to timber in a shift from public to private territories. The timber steps creek under his feet as they break away from the ground plain to the raised porch. From here, the timber floor begins to wrap up the exterior walls, eventually dissipating into the idyllic blue sky. He sits perched at a corner of the porch basking in the warmth of the sun while sheltered by the cantilevered spatial extension above. Objects float in the in-between space to mark ownership even in the inhabitant's absence. Just as the timber of the floor subtly dissipates into the walls, the exterior space subtly dissipates into the interior. The light timber door opens to reveal the world within where furniture beckons for activity. Shelves and window sills gather objects and moments of human routine in a similar way that walls and corners do. These objects collect at these edges while they wait to be included, once again, in the ritual of activity. In this room filled with objects and moments he is soon distracted from the harsh reality of the outside world. Now he is in his private space, free to do as he pleases. The desk invites him to sit and write... the tall window stretching from waist height to 60


ceiling invites him to ponder private thoughts and memories. Through this vast portal the light of the day walks across the room delicately tracing over every object and then vanishes back out the door. The still objects remain long after their encounter with the sun, waiting patiently for the new day. Climbing the ladder to the bed alcove triggers a memory of the ascent to a childhood tree house At the top of this ladder he slides into the bed alcove. Tucked away in a loft of privacy and security he is protected but not closed off from the harsh reality of the outside world. A delicate light drenches the loft-like space. There is a distant echo of outside sounds that is quickly dissolved into the thickness of the walls. Personal objects sit on a bedside ledge close to his heart. Hidden in the most intimate part of the chamber, a small window place pushes out to meet a leafy tree top in the foreground of playful clouds and idyllic blue sky. He sits in comfort and delight in the timber lined box that absorbs the warm beams of sunlight that dance through the open window. These beams of sunlight streak through branches and leaves of the tree just outside to cast soft shadows on quiet surfaces within the chamber. The edge of the window blends with the wall like a seamless skin stretching a deep puncture that opens to the outside world. The expanse of glass is precisely framed in a geometry that is simple yet thoughtfully composed.

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imagining...

Ownership IN AN UNOWNED THRESHOLD

Ingredients required for this recipe (in no particular order): • Operable Component • Identity in the Collective • Wall as Canvas • Furniture as a Tool for Territorialisation • Gateways The Operable Component may be adjusted to either flush with the wall on the lower level of the “chamber” or overhang the front porch, altering the threshold that once extended to the sky by creating a private sitting space that lines the border of public and private. Within this border of layers a garden bed offers opportunity for the occupant to yet again alter and claim space in a way that signifies Identity in the Collective. In fact, Identity in the Collective can also be signified by a claim on space through Wall as Canvas, while Furniture as a Tool for Territorialisation can be fixed and as basic as a bench for one. It is the suggestion of habitation that projects and reflects ownership in this multilayered threshold that marks the Gateway to the “chamber”.

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imagining...

Ritual IN PATTERNS OF A DAY

Ingredients required for this recipe (in no particular order): • Coming-Leaving Home • Furniture as an Instigator of Activity • Operable Component Coming-Leaving Home is experienced in the journey to and from the public street and private gateway. Textures, surface, light and volumes morph as they trace patterns of movement along this journey. Ever so often Furniture as an Instigator of Activity signifies space by instigating activity, while the Operable Component may be altered to suit changing patterns of the day.

64


imagining...

Memory In A Room For One

Ingredients required for this recipe (in no particular order): • Wall as Canvas • Furniture as a Tool for Territorialisation • Operable Component Wall as Canvas and Furniture as a Tool for Territorialisation create opportunity for a constant display of the mental catalogue of imagery that traces places of our past. Images can layer up in our mental memory bank just as objects can layer up in shelves and on walls. Even the Operable Component collaborates with Wall as Canvas and Furniture as a Tool for Territorialisation in instigating memories of places and scenarios that are preserved in one's mental catalogue of imagery.

66


imagining...

Privacy & Security In A Resting Space

The ingredients required for this recipe (in no particular order): • Material Thickness and Texture • Wall as Anchor • Operable Component In the loft-like space of the bed alcove that is physically removed from the rest of the “chamber”. Material Thickness and Texture determines the protective quality of the space. Wall as Anchor provides the feeling of stability and permanence essential to this recipe. The Operable Component provides the opportunity to alter levels of privacy and security within the “chamber” as desired.

68


imagining...

Comfort & Delight At A Window Place

Ingredients required for this recipe (in no particular order): • Operable Component • Window to World • Private Space with Public View • Tree of Life The Operable Component once again offers its adjustable qualities to the pleasure of the user creating a space for comfort and delight to exist. Window to the World provides a connection between inside and outside worlds, offering a portal for mental or visual escape and eradicating any sense of entrapment. Window to the World can be experienced in tandem with Private Space with a Public View as both ingredients maintain connection with others from within one's own boundaries. Tree of Life compliments both these ingredients as a reminder of human connection to nature seen in direct sight or reflected through dappled light in shadows cast within the “chamber”.

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TALKING RECIPES For the scenario of a single male adult asylum seeker living in an immigration detention centre in Western Australia the five recipes are combined in an attempt to make the meal of home in the small single residence depicted in the preceding collages and narratives. The collages help tell the story by visually illustrating moments of home within this asylum seeker's transitory house. Each collage illustrates how the themes or ingredients of the catalogue can be combined to evoke emotions that convey the senses or recipes they fall under. Do you see the five collages in their associated recipe images and vice versa? Can you identify the ingredients in the sample recipe collages? At times are you distracted from the reality and forget that the collages are illustrations of a transitory house? The nature of the transitory house, its various types and subsequently varying sites, pertains a unique set of conditions that lead to unique outcomes. Each transitory house would respond to its own set of conditions outside the ingredients and recipes of this catalogue, and therefore yield its own outcome.

72


There is no one combination or application of themes that will guarantee the making of home in the transitory house, as each dwelling and occupant would form a unique setting that calls for a unique but relate-able approach of addressing home. The unique aspect would be the overall combination and application of the ingredients of the catalogue, and the relate-able aspect would be the ingredients. This is why these imagining recipes illustrated by the preceding collages are suggestions, presented as fragments of one residence; never a whole. It is a deliberate attempt to encourage you to imagine home in your own mind. Do you wonder how the collages might relate to each other? Do you begin to notice similar scenes in your own home (and also in the designer's case, homes that you design)? How might you imagine making home in a transitory house?

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LIST OF IMAGES Page Title & Source 7

Philosophies of home [Source material from http://www.guide-to-symbols.com/vitruvian/, http://www.island crisis.net/2009/11/dreams-meaning-subconscious-mind/, http://www.universetoday.com/14367/earth/, http://loveandangellight.ning.com/profiles/blogs/your-inner-being-as-your-greatest-resource-by-owen-waters, http://www.seriocomic.com/photos/monochrome/identity (accessed 18 August 2011)].

15

Ownership – digital collage [Source material from http://www.easyhomecolorado.com/ (accessed 18 September 2011)].

16

Borneo in Arcila, M. T. 2002. Contemporary Houses of the World. Grabasa: Atrium Internacional de México.

17

Birds eye view of an immigration detention centre http://www.safecom.org.au/media-250602.htm (accessed 28

18

Schroder House http://www.flickr.com/photos/zkemp/16435168/ (accessed 19 September 2011).

19

Gate to my patio (Author's own).

20

Kenig Residence http://www.archdaily.com/21008/kenig-residence-slade-architecture/2130070475_11-copy/

May 2011).

(accessed 19 September 2011). 21

Travel souvenir hangs off a street-front exterior wall (Author's own).

22

Unité d'Habitation http://www.arnewde.com/architecture-design/housing-building-architecture-unite-d’habitation-by-le-corbusier/(accessed 19 September 2011).

23

Personal mementos sit atop my TV cabinet (Author's own).

24

Gucklhupf. Ott, P. in Broto, E. 2010. Minimum Dwelling [Image]. Barcelona: Links Books.

25

Wardrobe door used to enclose boarding house “cube” (Author's own).

27

Ritual – digital collage [Source material from http://www.1st-art-gallery.com/Pierre-Auguste-Renoir/ AfterBathing-2.html, http://www.paintinghere.com/painting/After_the_Bath,_woman_with_a _Towel_13172.html, http://abstract.desktopnexus.com/wallpaper/151759/ (accessed 18 September 2011)].

28

Furniture House I in Arcila, M. T. 2002. Contemporary Houses of the World. Grabasa: Atrium Internacional de México.

29

Patio furniture (Author's own).

30

Eames House http://www.flickr.com/photos/moderns-r-us/419633705/ (accessed 19 September 2011).

31

Footpath from main road to front door (Author's own).

74


Page Title & Source 33

See 25.

35

Memory – digital collage [Source material from http://camarynwallpaper.deviantart.com/art/Stock-Book-Case-

37

See 21.

38

See 25.

41

Privacy & Security – digital collage [Source material from Broto, E. 2010. Minimum Dwelling [Image]. Barcelona:

2-50993844 (accessed 18 September 2011)].

Links Books. 42

Fallingwater http://pittsburgh.about.com/cs/pictures/l/bl_flw_3.htm (accessed 19 September 2011).

43

The window layers the view of the tree outside (Author's own).

44

Glass House http://www.flickr.com/photos/x-ray_delta_one/4149519484/ (accessed 19 September 2011).

45

This red wall can be a feature or background (Author's own).

47

See 25.

49

Comfort & Delight – digital collage [Source material from http://www.alibaba.com/product-gs/367932022/

50

See 25.

52

4 x 4 House in Arcila, M. T. 2002. Contemporary Houses of the World. Grabasa: Atrium Internacional de México.

53

Boarding house window views a courtyard (Author's own).

54

Borneo in Arcila, M. T. 2002. Contemporary Houses of the World. Grabasa: Atrium Internacional de México.

55

I enjoy reading with a coffee out on my patio (Author's own).

56

Kidosaki House in Arcila, M. T. 2002. Contemporary Houses of the World. Grabasa: Atrium Internacional de

Oil_Painting_Abstract_Nude_Sleep_Woman.hml (accessed 18 September 2011)].

México. 57

At night the tree frames a soft silhouette on the window (Author's own).

63

Imagining ownership in an unowned territory (Author's own).

65

Imagining ritual in patterns of a day (Author's own).

67

Imagining memory in a room for one (Author's own).

69

Imagining privacy & security in a resting space (Author's own).

71

Imagining comfort & delight at a window place (Author's own).

75


REFERENCES 1.

Bloomer, K. & Moore, C. 1977. Body, Memory, and Architecture. London: Yale University Press.

2.

Freud, S. 1938. The Basic Writings of Sigmund Freud. New York: Modern Library.

3.

Norberg Schulz, C. 1980 Genius Loci: Towards a Phenomenology of Architecture. London: Academy Edition.

4.

Bachelard, G. 1958 The Poetics of Space. 1994 Ed. Boston: Beacon Press.

5.

Relph, E. 1976 Place and Placelessness London: Pion Ltd.

6.

Tuan, Y. 1979. Space and place: the perspective of experience. Minneapolis: University of Minnesota Press.

7.

Alexander, C. et. al. 1977 A Pattern Language. New York: Oxford University Press

9 & 10. Dovey, Kimberly. 1985. Home and Homelessness: Introduction in Home Environments. Human Behavior and Environment: Advances in Theory and Research. Vol 8. New York: Plenum Press. 11.

Bachelard, G. 1958 The Poetics of Space. 1994 Ed. Boston: Beacon Press.

12.

Vidler, A. 1992. The Architectural Uncanny. London: MIT Press.

13.

Austen, J. Emma

14.

United Nations High Commission for Refugees. 2006. Master Glossary of Terms.

15.

Australian Human Rights Commission. n.d. http://www.hreoc.gov.au/human_rights/children_detention_ report/report/chap06.htm (accessed 11 October 2011)

16.

Department of Immigration and Citizenship. n.d. http://www.immi.gov.au/media/fact-sheets/82detention.htm (accessed 11 October 2011)

17.

Australian Human Rights Commission. n.d. http://www.hreoc.gov.au/human_rights/immigration/detention_ rights.html (accessed 11 October 2011)

76


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