In the foothills of the Himalayas, pressed against the Tibetan skies, the building is conceived of as ineffable form. It emerges as a designed landscape object. As an object of emergence, incomplete in formal character, programmatic interactions and environmental change cause it to become fundamentally different objects that last for a season and then change into something new. The building continually recedes into itself. A pattern of high and low, bright and dark, open and closed spaces continually draw the beholder through the building which is never resolved in itself. The whole is complete in a trifold of building, landscape and aesthetic beholder.
There may be no place in the world where the sublime is more pervasive than in the Himalayas. To build on the mountains is to absorbed within the sublime. The building exists within this condition, being conceived of as an object of geologic assemblage. Through the collapsing of discreet objects, it reveals a tension between the object-form and its qualities. The movement of the building’s tectonic shifts becomes static, suspending the architecture on the verge of emergence. The edifice elevates the beholders against the sky and invites them into the ground. It offers a navigation between the ethereal and the telluric, the ideal and the concrete
Advanced Design Studio: The Architecture of Thought with Mark Foster Gage and Graham Harman. Critics: Catherine Ingraham, Arianne Louie Harrison, et al. Collaboration with Jerome Tryon. Fall 2019.