1. Percy was the name of my grandmothers cat whom I despised and this is my chance to keep that same rampant character tied down to one place. Beck was my great grandmothers maiden name in which I have only traces of links to her through stories, photographs and memorabilia.
Plead for something other than romantic postcards and lighthearted stories about the places and experiences these people exist within. He instead wants to feel the lifestyle of these places and the things walked by and forgotten. Begins to catalogue what is underneath the surface of these places. Through a new way of organization connects are revealed.2
2. My favorite postcard I ever sent was one that was only black, no imagery at all. On the back was a note printed on the top that read “black hills at night” and it made obvious both the humor and reality of the circumstance which I was relaying 700 miles away. This revealed more about the person and the place while leaving room for the imagination to fill in the rest
A cousin lives in Japan that is close to Percy’s age. His uncle is stationed there for two years in the Navy. Percy’s cousin has as much adventure as Percy did. When he hears of the request to grasp places under the surface he immediately knows a place to share.3
3. My cousin did indeed live in Japan for two years, he then moved to Hawaii with a 1970’s Volkswagen Bug with a driver shaft on the right side. He was known all over the island for this exact artifact from Japan. All I ever got from my Uncle was some artwork with my name in Japanese.
And on the story goes...4
4. An idea about the forming of a narrative.
Through tying together techniques of fiction, narrative, traces, and taxonomy the layers reveal nodes of inter-relations otherwise unable to unravel under the rational lens of architecture as the sole entity.
By overlaying what seem to be disparate parts from multiple sources through a technique not of notation, graphics or physical form but through the narrative that shapes them, the lens’ begin to obscure and reveal new connections that produce new ways of seeing what were once placed in solitude of their reigning characteristic. While things may have at once seemed irrelevant, now are emergent.
By bringing attention to the non-sites in the world of architecture it will reveal to the profession the broader context and discourse outside of itself. By acclimating ourselves with adjacent practices we are then able to handle new programs and social complexities that architecture has before been unable to deliver. These places situated for thesis are already once removed from architecture being cast out and neglected, this brings them back into the conversation not as a ruin but an active engagement to the ellipses of after the built form.
Through collecting information, stories, images, maps and histories about places and spaces that seem to have a blanket association with a single characteristic the less than apparent connections will begin to emerge to help understand new linking resources to aide in architectures approach towards the social, cultural and built world. The juxtaposition presented between sites, time, artifacts and stories can relay ideas of not one ideology but the synthesis of many.
The thesis may appear as a series of travelogues corresponded by the narrative of a character. The author does the work of the thesis while the travelogues aide in the background. A place where the author manipulates his stories and information to go not so far as fiction but adding and displacing facts to amplify the argument. These travelogues may be expressed in a series of photographs, artifacts (debris, remnants, materials), and texts that are then overlaid with the new approach to terrain, ruin, and traces /imprints of time and activity.
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