Prototype Program Diagram

A program was created to evoke core emotions through these spaces. Dwellers experience space and process their emotions accordingly. These spaces are not intended to be prescribed emotional spaces, rather suggested spaces that facilitate an environment where people may cope with their emotions. Human beings are complex, and as such, two may experience opposing emotions in the same programmed space. These experiences are processed through visual stimulation, perception, and scale. The program extends past these spaces to the community as dwellers share spaces between the prototypes. This creates an emotional connection throughout the community.

Community Scale Diagram

Proposed Community Diagram

Connection-Disconnection

When you are in public or private, with friends or alone, happy or sad, do you busy yourself with your cellphone? It seems that no matter what the emotion, it is difficult to distance ourselves from the cellphone. 

Are we uncomfortable with the disconnection? Why must we constantly be bombarded with information on our phones, whether it be a news feed, social media notifications, or more? Modern society is instantly connected through the cellphone and internet. Do we listen to ourselves enough in the Iphone Era? 

Must we always be connected? Can architecture influence this?

“As I enter a great architectural space, I hear only my own heartbeat. The innate silence of the experience results from the fact that it turns our attention to our own existence-I find myself listening to my own being.”-Juhani Pallasmaa, 2012.

Man and Space

"Building, Dwelling, and Thinking" 
By Martin Heidegger in 1951. 
A German Philosopher, 1889-1976.

"'When we speak of man and space, it sounds as though man stood on one side, space on the other. Yet space is not something that faces man. It is neither an external object nor an inner experience. it is not that there are men, and over and above them space...' As we enter an architectural space, an immediate unconscious projection, identification and exchange takes place; we occupy the space and the space settles in us. We grasp the space through our senses and we measure it with our bodies and movements. We project our body scheme, personal memories and meanings into space; the space extends the experience of our bodies beyond our skin, and the physical space and our mental space fuse with each other."

pg.6
McCarter, Robert, and Juhani Pallasmaa. Understanding Architecture: A Primer on Architecture as Experience. London: Phaidon Limited, 2012. Print.

Prototype Community Sketches

Prototype Rough Model

Social Media and Communication

Emotions on Facebook

Contemporary society portrays emotions freely through social media, and as a result, it seems that there is a lack of censorship of our emotions. What does society communicate when it turns to social media to cope with emotions rather than coping with this on a personal and individual level? Social Media connects us, and disconnects us at the same time. Can architecture communicate and connect our emotions as social media does?

Private Space in a Public Place

"Walk down the street of any large city in any country of the world and watch the people who are talking on their cell phones: they are in their own space, physically adjacent to one location and one set of people but emotionally somewhere else. It is as if they fear being singletons in the crowd of strangers and opt instead to maintain connection with their pack, even if the pack is elsewhere. The cell phone establishes its own private space, removed from the street. Were the two people together, walking down the street, they would not be so isolated, for they would both be aware of one another, of the conversation and of the street. But with the cell phone, you enter into a private place that is virtual, not real, one removed from the surrounds, the better to bond with the other person and the conversation. And so you are lost to the street even while walking along it. Truly a private space in a public place."

-Donald A. Norman, 2004


Norman, Donald A. Emotional Design: Why We Love (or Hate) Everyday Things. New York: Basic, 2004. Print

Spatial Sketches

Garrett Callen  |  Yasmine Jafari

Perception and Proportion Studies

Conceptual Collage

Conceptual Models

Garrett Callen  |  Yasmine Jafari

Concept Models

Garrett Callen  |  Yasmine Jafari

Conceptual Sketches

Sou Fujimoto Vs. Aldo Van Eyck

"Skinless Architecture"

-Inspired by Superstudio

Garrett Callen  |  Yasmine Jafari

Conceptual Collages

-Inspired by Superstudio

Garrett Callen  |  Yasmine Jafari

Superstudio - Life Without Objects

"Architecture

My search for architecture now appears to me like that of the Graal, of the Philosopher's Stone, the Phoenix. And I believe I did not find it. I say "I believe" because I might even have found it without realizing it! I understand that this is not a very credible claim, but I shall try to explain. First of all let us see what I did NOT want to find:

           I did NOT want to find a monumental architecture.
           I did NOT want to find a fashionable architecture.
           I did NOT want to find a beautiful architecture.

           Instead I always sought a "skinless" architecture, an architecture in which the outside arises from the inside, straight out of the inner life of the men who live in it. And therefore architectures the outside of which could be utilized, gone through, touched, made use of just like the inside, plain and hill architectures, an anthill architecture for men (of course just the opposite of a phalanstery!); an "invisible" architecture (in the sense of the "invisible man"). that is why I say I did not find it. Indeed I fail to see it, even if I have a feeling that, like in the film on the "invisible man", it has grown close to me, on the verge of revealing its outline in a puff of dust, of steam or in the rain: pouring rain (like in Rashomon!) that Gavroche sought cover from in the elephant of the Bastille. The first example of an architecture/non architecture that enthralled me and may have conditioned me ever since, since I was a kid, a pal of Gavroche's, when I did not yet know I would become an architect.

           "Oh unexpected usefulness of the useless! Charity of great things! Bounty of giants! This outsize monument, that had contained one of the emperor's thoughts, had become an urchin's shell: the lad had been accepted and taken in by the colossus. the bourgeois would say, examining it with their bulging eyes and an expression of contempt: 'What is it good for?'" 
-Victor Hugo, Les Miserables, Book VI,II. 

An architecture can be conciously negative, it can be intentionally designed to be unpleasant, uncomfortable, to not work.
-Bernard Tschumi

Florence, December 2002"

Excerpt from Superstudio - Life Without Objects, Pages 82-83.
Lang, Peter, and William Menking. Superstudio: Life without Objects. Milano (Italy): Skira, 2003. Print.

Kafkaesque Sketches

Garrett Callen  |  Yasmine Jafari