The Cultural Role of Architecture 2010 - Presentation - Deckers, Karel

8/13/2019 The Cultural Role of Architecture 2010 - Presentation - Deckers, Karel

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(Wanderer Above The Sea Of Fog, 1818,) Giorgi Di Chirico and Carrwith their pittura metafysica , make therelation between fear and art apparent. Literary representations or narratives such as Das Schloss (1926) byKafka and stories by Edgard Allen Poe such as The rise and Fall of the House Usher (1839), Jean RaysMalpertuis (1943) are fine examples of the written and imaginary negotiation between architectural interiors andfearful spaces. Musical representations such as Joy Division with the album Closer (1980) sound 'Unheimlich'.

A mix of spleen filled lyrics, the choice of instruments, the specific structure of songs, the particular rhythm section,special artwork of the albums stir the audience's imagination and make listening to their music into a disquietingevent. Another example we find in the music of Camille Saint-Sans' 'Danse Macabre (1875). All these types ofrepresentation illustrate the workings of the Uncanny: torment is made into art, and art is made into torment.

The research concerning the architectural 'Uncanny' as a creative device for education and representation isframed by the science of philosophy, more specifically, the theory of phenomenology developed by Heidegger inhis remarkable book 'Sein und Zeit' (Heidegger, 1927). His theory provides strong shoulders to support ourresearch into the 'Uncanny', as it professes a fundamentally inclusive approach towards reality. It opposes thestubborn Cartesian duality in (scientific) thinking. This duality arguably led to a positivist conception of reality,misanthropy and absence of wonder. The phenomenological approach however is subject-based: it emphasizesa vital ability to 'return' to the phenomena as such. Central in phenomenology is notion of the motherly 'care' forthings and beings that safeguards specificity and qualities, against positivist tendencies.We believe phenomenology offers an opportunity to take interior architecture away from representationalconventions. It also offers a more solid foundation in research to the notion of interiority, instigated by the

imagination. One can argue that interiors and interiority are fundamentally dealing with mental and physical insideof things, venturing beyond the obvious categories of numbers and data. This article focuses on the issue that the'Uncanny' is able to establish and recreate qualities related with interior space through the imagination of bothaudience and author.The leading inquiry of our research is to find out how 'Uncanny' becomes vital in the creation of a specificeducational model and contributes to a wide range of experiments in architectural representation (written, drawn). To do this we have chosen seven key figures with diverse backgrounds (Burke, Freud, Husserl, Heidegger,Norberg-Schulz, Bollnow, and Vidler). All of them are or were -consciously or unconsciously- involved in theactivating potentialities of the phenomena of 'Unheimlichkeit' in their respective disciplines. We have chosenthese figures as they represent different schools of thoughts, eras of thinking and diversity in method building. Thephilosophical character of their work is a common ground.

What is exactly the historical and philosophical background of the concept of the Uncanny? In order tounderstand this aspect, we should start by looking at some key historical figures and moments. The Uncanny isundoubtedly rooted in the tradition of Romanticism. The division between 'Sublime' and 'Beautiful' goes back tothe writings of Edmund Burke's(1729-1797) 'A Philosophical Enquiry into the Origin of Our Ideas of the Sublimeand the Beautiful', (Burke, 1757) Objects of art or forces in nature, for instance the depth of an abyss, the roaringsound of thunder and the endless misty landscapes, make us wonder about a deeper reality that transcends us.Through these sensations we reach out to the Sublime and the Beautiful. While the Beautiful is principally linked tosimple pleasures and joys, the Sublime is connected to a strong sensation of pain and terror. The Sublime thusbecomes a source of fear and threat. But it is necessary to keep distance from these primordial fears. Bydetaching ourselves from them, we can experience something like delight. The Sublime covers manydisciplines. Our research by design is not aiming for an esthetical response to Romanticism, nor are we making ahistorical study on contemporary phenomena related to Romanticism. Rather, it is more about gaining anunderstanding of where the concept of the 'Uncanny' comes from and how it can meaningfully contribute to thefield of architecture today.The term the Uncanny was introduced to science by psychoanalyst Sigmund Freud (1856-1939): his writing onthe phenomenon of the Uncanny contributed to development of the psychoanalysis as a discipline. By means ofempathy, metaphors, stories and dialogues, he discovered that the human psyche contains fundamentallyunconscious layers of information. These layers are repressed out of fear, frustration, and anger. It can be arguedthat his findings installed an uncertainty and a fundamental distrust of the lucid judgment of the human rationale.In this respect, the Uncanny is just one of many discoveries. In his book Das Unheimliche (Freud, 1919) Freudsets out to fathom the etymological meaning of the word Uncanny in many different languages.In German language, the noun Heimlichkeit, (homeliness) bears a double meaning. On the one hand, it meansnot only something familiar/homely/recognisable, but it also means something concealed. The opposite, Un-heimlichkeit ('Uncanny') also bears a double meaning: something that at first sight is not at home, something thatis unfamiliar and unrecognisable. But the second meaning (to disclose, to unveil something) makes theunderstanding of the Un-heimlichkeit suddenly complex and intriguing. Conclusively, the Unheimlichkeit is aninstance that is unfamiliar though immediately afterwards it is revealed as something strangely and disquietingly


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familiar. Therefore somebody encountering an Uncanny experience is left feeling somewhat bewildered,perplexed and uncomfortably strange.One could argue that the architectural Uncanny is to be found in the philosophical works of Martin Heidegger (1889-1979) and his teacher Edmund Husserl(1859-1938). Husserl first founded the theory of phenomenologyand intentionality (Husserl, 1907). His pupil, Heidegger elaborated his work further and developed the intentionalnotion of Sein zum Tode (Heidegger, 1927): being-towards-death: our existence has a meaning and directionbecause of the realization of mortality. This notion of being-towards-death is complementary to our being in theworld, in which one is continuously being thrown in a world of possibilities(Heidegger, 1927). Both notions,being-towards-death and being-in-the-world hold a key to understanding the very essence of architecturalcreativity and our natural care (die Sorge) for reality and things. Creativity is limited and guided by themortality of things and passing of time. In other words, a creative act is intrinsically connected to our awareness ofmortality, a fact which links architecture and fear in a paradoxical and complex union.The architectural theoretician, Christian Norberg-Schulz (1926-2000), is clearly influenced by thephenomenology of Heidegger and Husserl. In his Presence, Language and Place(Norberg-Schulz, 2000) he tellsus that our 'being-in-the-world', or das Dasein always encompasses 4 essential elements: the sky, earth, thepresence of mortals and Gods. These 4 elements, the so-called quadrature or fourfold of 'things', are tiedtogether and surface always simultaneously. In other words, every architectonic creation invariably is united andfulfilled by the synchronous presence of these 4 elements. This ' quadrature' refers to a spatial component of hisphenomenology.Norberg-Schulz also developed a phenomenology related with time, consistent with the theory of intentionalityand phenomenology of Husserl and Heidegger. According to this time-based phenomenology, there are basicallythree kinds of perception related to time. First, there's our perception of the past: all the things we knew previously(memory). Secondly, our perception of the present: we tend to consider somebody or something assomebody/something (identification). Finally, our perception of future: what we do (not) expect(orientation/anticipation). Our perception of reality is always synchronically guided by three perceptions of time ina single act of experience: we are wilfully and simultaneously memorizing (past), orientating (future) andidentifying (present). (fig 1). I'll come back to this threefold notion of time later in the article as it is important tounderstand the objectives of the Uncanny.

Threefold phenomenologyof time developed

by Christian Norberg-Schulz(based on Husserl and Heidegger).

Any act of thinking isthe simultaneous assembly

of past (memory),present (identification),and future (orientation).

(Fig 1)


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By studying the Uncanny in interiors, one also relates inevitably to the study Mensch und Raum (Bollnow, 1964)made by O. Bollnow (1903-1991), philosopher and educator. For example, Bollnow describes the ignitingimagination of a child facing darkness in which the sensible perception of space ceases to exist. As seen from ofa childs perspective, the world of materials and forms seems to be ever-changing, magnified, stretched andmagical. A child that is left in the dark almost instantly designs a new and ever-changing universe out of thesublime mixture of wonder and fear, regardless of any conventions.Natural and subliminal landscapes with dense forests, thick mists and snow are analyzed as if they were domesticinteriors. In doing so, interior architecture is brought in a strange alliance with the experience of uncanny naturalenvironments. The Uncanny aims at understanding the primary forces (the 'Sublime' in relation to terror, andwonder related to uncertainty) as extremely creative design features.The Architectural historian and theoretician, Anthony Vidler , relates the 'Uncanny' with architectural issues in his influential book, The Architectural Uncanny (Vidler, 1992). It is written from an historical point of view. On thebasis of a number of cases, it describes the 'Uncanny' as a discomforting cultural phenomenon or tendency whichmanifests itself in many ways: in the arts, literature, architecture, psychology and phobias, and archaeology(where he cites the terrific example of Herculean petrified corpses being buried alive an example whereby man isable to see and anticipate at his own inevitable death. This example triggered 18th century authors to write similarhorror stories). Reading Vidlers book one becomes acquainted with how the Uncanny surfaces as a broadcultural theme throughout centuries. In our research, the architectural Uncanny acts as a sort of an umbrellaterm for many issues related to architecture and the 'Uncanny'.

Architectural understanding of the UncannyWhen we accept that the Uncanny is related to pre-reflective and phenomenological issues that are partiallyinstigated by the above mentioned influential figures, we can then try to develop an architectural understandingon that basis. We have found throughout our research several creative characteristics emerging from thearchitectural Uncanny: the understanding of the architectural 'Uncanny' is both inclusive, transdisciplinary, sinisterand indulges in risks.

Firstly, the Uncanny is by nature inclusive (Van Berkel, 2001) : it unveils and veils/ orders anddisorders/un-familiarizes and familiarizes.The Uncanny bears in itself two opposites (it alienates but revealsat the same time). This contradiction within one term can be considered as something inclusive. The Uncannydoesnt tend to exclude complexity nor does it exclusively tend to simplify: it includes both in the single concept. Itstimulates joy and decay at the same time. Order and disorder are also part of the same constellation. TheUncanny doesnt impel one to the choosing of sides but tends to precede every imaginable division and actswithin a pre-reflective setting of things. The Uncanny also encompasses time and space in a single gesture: itfollows the logic of Heideggers phenomenology with its subject driven, inclusive and time-based perception ofreality. Any act of thinking is assembled simultaneously in past, present and future.

The Uncanny also tends to cross the borders of the different scientific disciplines. In the course of ourresearch, we gradually came to realize that it is not only the physical building or space is a primal source of fear,but that our personal background with specific education, memory, etc must also be taken into consideration: thepsychological component of the Uncanny matters just as much because it relates to unconscious and tacitissues. The latent and repressed nature of our unconsciousness continuously seeks compensation by resurfacingunexpectedly and erratically.On a philosophical level, the aforementioned key figures such as Heidegger and Husserl tell us that man is alwaysconfronted with (the passing of) time. In addition, we have a natural care for things and the other . In manydifferent forms of media outside the architectural field the Uncanny represents itself: global media companiescover contemporary stories of horror and crisis situations as if they were daily bread.

The Uncanny can be considered as sinister and imaginative: The Uncanny reveals sinister and hiddenqualities behind the superficial curtain called architecture. These subtle qualities are equivalent to the traditionaland perhaps obvious spatial values like light/sight/air. They make us aware of the important role of architecture asa discipline that is able to reveal and hide at the same time. The architectural Uncanny is about unravelling amultitude of layers into which the architecture is hidden. Many values related to the architectural experiencedepend on immaterial, invisible, intangible and often 'erratic' thus unpredictable aspects. Another sinister aspect isthe mortality of all things and beings: architecture is probably not immortal but needs the horizon of mortality inorder to exist. This is very important in order to understand the Uncanny in architecture: the architectural artefactmay outlive several generations, but finally we are all are limited to our own ending.


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Uncanny provokes by causing people to indulge in crisis s ituations/calamities. This provocative feature ofUncanny returns on many levels. In an architectural practice, a deadline is an artificial and self induced momentof crisis that finally nourishes an eagerness to come up with a sharp design. Uncanny is also an intentionalattitude towards risks. To put it polemically: to avoid a design problem, is to avoid the possibility of generatingarchitecture. The Uncanny is about intentionally searching r isks and crisis danger/ pain/fear. The architecturaldesign of the Uncanny flourishes in the context of catastrophe and imminent danger. For instance, the issue ofclimatic change provides this years background theme in the Design Studio dedicated to the workings of theUncanny, but well come back to that in the second part of the article. The Uncanny can also be considered asan operational design issue: one can argue that a design is richer when, in addition to spatial issues, it alsoembraces movement and time. This intentional and deliberate search for complexity is essential for understandingthe architectural Uncanny.

Manifestations of the UncannyWe have seen some of the background and characteristics, but what are the real objectives of the Uncanny?The Uncanny affects our notion of time as it emerges before, during and after a specific architecturalexperience. The Uncanny can be experienced by physically moving through a building, space or situation. Weare hereby guided by our imagination by synchronically incorporating three kinds of perception related to time.First our perception of the past: all the things we knew previously (memory). Secondly, our perception of thepresent: we tend to consider something as something (identification). Finally, our perception of future: what weexpect (or do not expect) (orientation/anticipation).Thanks to the theory of the intentionality (Husserl, 1907) andthe further elaboration by Norberg-Schulz (Norberg-Schulz ,2000) we know that our perception of reality is alwaysguided by three elements: we are intentionally and simultaneously memorizing (past), orientating (future), andidentifying (present) and thus we are intentionally inciting the imagination while experiencing the Uncanny.

Uncanny also tends to increase empathy, participation, affective and emotional aspects in architecture. It istherefore exercises its effects on a wider, non-specialized audience. As stated above, through a specificrepresentation of the architectural Uncanny, we can experience and obtain an increased understanding ofaffective and emotional aspects in architecture. This dimension makes us more involved and affectivelyconnected to the work of art/artefact. In this respect, we can refer to the 'Stendhal syndrome', whereby one entersin an emotional turmoil after having been exposed to a multitude of beautiful artworks. Most paradoxically, we arealso becoming empathetically implied with something or somebody who is potentially threatening us! Thisphenomenon is somewhat reminiscent to the so called Stockholm syndrome: a paradoxical psychologicalphenomenon whereby empathy -and even sympathy- is induced in the hostages for and with the hostage takersand their cause.

Uncanny also facilitates understanding of the psychological aspects related to fear and space. TheUncanny attributes a meaning to space that goes beyond the familiar and immediately recognisable: we aresimultaneously alienated and drawn to its workings. This contradictory process is predictable in itself, but at thesame time disquieting as the outcome is always uncertain. This continuous process of taking distance and drawingnear (and back again) makes us -as an audience- (whether visiting or reading) more involved and affectivelyconnected to the space or object of art. For instance, imagine yourself free at will walking along a cliff. As a freebeing, one can be suddenly confronted by thoughts of losing control. There's genuine anguish that emerges if oneknows he or she has the freedom to throw oneself down to an imminent death. One could say that ourconfidence to confront space is continuously under siege through an inbuilt and existential uncertainty. TheOnheimelijk has much to do with adopting an authentic and intentional attitude and accepting ever-changing

realities. Even if they are disturbing ones.Finally, the Uncanny manifests itself through a specific architectural representation.The works of an artistby like Piranesi serve as good examples understanding the Uncanny in architectural representation: his study ofthe Carceri (Ficcaci, Piranesi, 1749) was in a sense a prediction of troubled times to come. The findings ofBernard Tschumi in his Manhattan Transcripts (Tschumi, 1981) are truly exceptional in this respect. This work is,so to speak, an unfinished symphony into the representation of the architectural Uncanny. Its importance lies inthe implementation of collage and film techniques combined with traditional architectural techniques (diagram,plan and isometric). The book Manhattan Transcripts experiments with architectural representation as itcombines movement, action and time. It gives us a clue as to on how this sublime mixture of space and time couldbe represented. The writings and images of Tschumi venture into radical experiments in architecturalrepresentation and seek the establishment of new meaning in architecture. Unfortunately, the book has not beenimplemented more broadly into the architectural practice or education.


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Merging of time and space in comics and architectureBy combining all the effects of the Uncanny- the synchronic threefold notion of time, the increased empathy withnon-specialized audiences and a better understanding of psychological effects of fear and space- we can thenunderstand that the architectural Uncanny has something to do with representation inducing fear and sympathysimultaneously in the field of architecture. This usually happens when time and space starts merging into asublime and inclusive union. We need therefore to understand better the aspect of passing of time from anUncanny point of view, (maybe even more than we need to understand aspect of space). Time is preferential toall spatial issues as our notion of time is intertwined our own realisation of mortality. Without the notion of time,there would neither be architectural experience nor representation: everything would be frozen.

In conventional architectural representation, there are already a lot of techniques related to merging of time andspace: a cross-section of an interior is also an artificial and mental construct combining time and space. Themovement (time) of different users on different floor levels can thus be simultaneously verified optically in onedrawing by the audience. This possibility of simultaneously viewing separate interior spaces does not exist inreality: it only exists in the drawing! An interesting figure who started challenging the impossibility ofsimultaneously viewing separate interiors is the artist Gordon Matta-Clark(1943-1978). His radical cuttingtechniques and adaptations of existing interiors relate in a strong way to the Uncanny, opening up inclusivepossibilities. The potential audience can be omnipresent in many places at the same time, opening up apanoptical device encompassing past, present and future.

Arguably, sequential graphic art such as comics is a great way to discover the architectural experience with itsmerging of time and space. The narrative techniques of comics are an excellent way to discover representation ofthe Uncanny. It can be very helpful to read work of the comic author Scot McCloud (McCloud, 1994) on thissubject. He states that the separate panels of which comics are composed in fact offer an irregular sequence ofunconnected moments fracturing both time and space. However, because the panels are sequentially connectedfrom left to right something interesting occurs. Through the notion of closure, (Fig 2) the reader is invited tointentionally and mentally connect the gap between the panels in a continuous and unified reality. Thearrangement of a comics page or even a single panel is, in fact, a condensed form of time and space put in anarrative sequence: it is a temporal map. The images and the language are combined in such a way that the plotencompasses movement, time and space in a single panel, in a single page, in a single comic.

Closure: The reader is invited to wilfully and mentally connect the gap between panels in a continuous andunified reality (Fig. 2)


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In architectural experience, we encounter also a similar phenomenon: closure occurs when the audience orvisitor passes through -intentionally designed- contrasting spaces. This type of intentional disorientation facilitatesthe growth of imagination, possibly causing dread to emerge to any kind of audience. Id like to start by giving afamous example: the Opera by Tony Garnier in Paris (Fig 3) . The architectural movement through the building isintentionally guided by a staccato rhythm of perspective transformations. Garniers opera building seems not tolead to a single absolute plot or narrative climax: rather, the architectural experience can be read as a successionof many subplots. The author (the architect) is leading his audience into a seemingly endless cloud ofarchitectural wonder. What the (narrative) plot of the building ultimately deals with is much less straightforward.One could argue that the architectural experience of sequential spaces in this opera building is fluid but not perse linear: the architect does not necessarily design his plot in a linear fashion. From a visitors point of view, anarchitectural experience of space probably is of a non-linear kind as the sequence of spaces can be easily read inreverse from the end to beginning or even in between the end and the beginning. Still, one can argue that theplot (and subplots) or the narrative has been pre-programmed: it has been preset and instilled by its author, thearchitect. This brings us to an interesting issue: the tension between a preset narrative in architecture and the willto escape from this narrative by the author and/or the audience.

Garniers opera building seemsnot to lead to one absolute plot:

the architectural experiencecan be read as a

succession of many subplots.(Fig. 3)

How does the architectural Uncanny relate to the problem of a preset narrative or plot?Should we lose theplot or not? (Zimm, 2005) Should an architectural narrative be preset or not? One option is to lose the plot inarchitecture. We can choose to do this for a particular and critical reason. Since Modernity, it has generally beenregarded that plots can intentionally or not intentionally act as agents of power. A plot clouds our imagination in anegative way as it paralyses our critical ability. So logically, we would choose to lose the plot, because of a naturalinterest in maintaining our critical abilities at all times. Alternatively, one can also consider a plot to be a narrativemethod intended to induce a pleasant and uninterrupted whole leading up to a singular climax. So, theres a sort ofduality -or dilemma if you want in choosing sides between having a plot or not.

We argue that the Uncanny with its intentional qualities is most likely able to absorb the duality between having aplot or not: the Uncanny can contain both at the same time since within the context of the Uncanny, there is inprinciple no difference between the two. The Uncanny does serve as a critical antidote against fragmentation.It criticizes the mental slavery and addiction to plots but paradoxically it does not exclude the possibility that it isprecisely the plots that will provide the answers. The power of the Uncanny in architecture resides in its inclusiveworking: the appropriation of space and time by an intentional audience/intentional user constantly transforms bitsand pieces into comprehensible wholes. Logically, architectural Uncanny is an ally in the resistance againstlosing consciousness of the invisible and intangible aspects 'behind reality'. It thereby enables a firm resistanceagainst tendencies to fragment reality and destroy magic and wonder: this is a legitimate act of self defence asUncanny originates in magic and wonder.


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Research by education: educational Uncanny

We have seen that the Uncanny is able to critically unveil obstinate misunderstandings or preconceptions inarchitecture regarding preset narratives, the merging of time and space, etc. Parallel to this theoretical andgeneral discourse, we have also conducted educational research incorporating the Uncanny as a theme into aseries of Design Studios. This has been a long and often arduous process: It was already during my architecturalstudies that I kept reflecting on matters like repulsion, decay. One could only stare in disbelief when virtually allarchitectural discourses in our institution were evaluated through and measured up to Le Corbusiers famousmotto The erudite, correct and magnificent game of volumes assembled in light (Le jeu savant, correct etmagnifique des volumes assembls dans la lumire). To advance this motto was certainly intellectuallyunderstandable but somehow incomplete: what about all the things architecture supposedly is not? What aboutgrotesque issues like deliberate darkness, the lack of space, doubt, decay...? When reading, listening, andwatching contemporary artistic manifestations (films, fiction, music), we found the architectural 'Uncanny' to berelevant. Oddly enough one can say that architecture was thought about, discussed and evaluated from anoptimistic, harmonious and therefore perhaps one-sided point of view. It is obvious that the politically correctthinking at the architecture school was not promoting insight into the Uncanny, but the manifest absence of theconcept of the Uncanny from many discourses certainly did stimulate some curiosity about this issue!By deliberately organizing a Design Studio on the subject of the Uncanny, we have found from practicalexperience the past two years that the architectural Uncanny acts as a sort of missing link in educational practice.Through the concept of the Uncanny, we have been able to develop a specific educational model encompassingthe cooperative and individual student competence that has informed and stimulated our research.The Uncanny is the common umbrella tying this series of design studios together: the design studios provide thenecessary space and time to see the emergence of the Uncanny in education. After two year of experience inorganising these design studios, one can argue that the design studio itself is both subject and method (i.e. aspecific approach) in order gain insight in the workings of the Uncanny in education of interior architecture. Wehave found out that students were very enthusiastic to tackle this unusual topic and approach.

Development of a specific pedagogical model for 'Onheimelijk ' Design Studio (edition 2008)The diagram (Fig 4) shows the structure and growth of competence in the Design Studio running over a period of13 weeks. The red arrow indicates an individual student trajectory with several traditional design phases (for

instance: introductory session in week 1, analysis in week 2, synthesis in week 3 and so on). The green arrowindicates a collective trajectory (for instance: in week 2 preparation of exposition/book/excursion/log). Theparallel development of collective and individual trajectories leads to a synergetic and inclusive design process.


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Creation of a pedagogical model: this time diagram indicating the individual and collective competence growthduring the Uncanny Design Studio covering a period of 13 weeks (Fig. 4)

Individual trajectory over 9 weeks (Fig. 5) Collective trajectory over all weeks (Fig. 6)

The individual trajectory (see fig 5: red arrow) involves individual student projects. These works were developedthrough a process of reflection: after possibilities are analysed and sorted out the individual design is graduallyreduced to its essence. The radial grey arrows indicate bi-weekly presentation moments in the architecturaldesign process: these moments act as deadlines. The collective trajectory (see fig 6: green arrow) does nothave a tendency to converge like the individual track does. In fact, it does quite the opposite: through time itgradually expands and grows in importance. As an aggregate of knowledge, the collective trajectory containssynthetic qualities. This diagram is consistent with the proposed structure of the authors progress on his owndoctoral thesis. On one hand there's the individual track with a sharp timeline and regular moments of submittingportions of the work for feedback and criticism. On the other hand, the collective track is the result of daily workand interaction with students on design issues related to the Design Studio theme of the 'Uncanny' and theconsequent reflection on practical results of this dialogue.

Our research into the Uncanny balances continually in a sort of pendulum movement between the buildup ofindividual and of cooperative competence growth among students and the teacher/researcher. The methodsused within my individual research follow a similar pattern: there is no real hierarchy or premeditated order inwhich the methods are applied. Every method is checked continuously in every stage of the process and adaptedif necessary. Students act both as informants and researchers: working cooperatively, they stimulate the growthof knowledge and common experiences. Simultaneously, the student focuses on increasing on his or her ownindividual competence during the Design Studio. The movement between the individual and the collective makesthe two attitudes equal in terms of their approach and thus complementary. The individual body of work startsinforming the collective body and vice versa and back and forth.

Additional method buildingNext to this pedagogical model, we designed a specific strategy using a number of methodical tools applied in theresearch of the architectural Uncanny. As already mentioned, we reflect through student projects in order toconduct research: students as researchers/informants of a research (Bai, 2008). This method stimulates andmotivates students especially of the awareness to be implemented in a larger scheme of research.Furthermore we undertake experiments of representation in design studio by/with students: they start inquiriesand experiments on the representational nature of Uncanny images. The experiments extend from working inultra short and sketchy design sessions in max. 60 seconds to the implementation of movement and time inarchitectural representation. By means of survey/interviews among students, were trying to find out howstudents perceive the link between Uncanny and architecture. Every design studio starts and ends with a writtenquestionnaire. Furthermore, the scrupulous and rigorous application of rules of academia ensures clarity incommunication: academic writing skills are inevitable tools in the production of research. Students are


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encouraged to indicate references according to academic principles. We are also conducting experiments withnomadic and adaptive research method: theres no predetermined outcome or method application (Nilsson,2004) . Every method is checked, evaluated, adapted and updated if necessary throughout the whole researchperiod. What we ultimately seek to obtain is a tailor made and specific method applied locally and temporary, i.e.'nomadic'. Finally, we are currently building through Participatory Action Research collective and individualcompetence: one group of students is responsible for publishing and editing a book, another group is responsiblefor organising and designing exhibition etc. The interaction between collective and individual competence buildingis ensuring a dynamic and accumulative build up of knowledge.

We will now try to briefly describe some practical results of Design Studios Uncanny I: Oct-Dec 2008, Uncanny IIOct-Nov 2009. In order to get started and to obtain a body of work to reflect upon, we have organised and arecurrently still organising- teacher and students together- on a yearly basis a design studio dedicated to the subjectof Onheimelijk. Every edition is accompanied by a publication and an exposition. This way a larger audience canparticipate and possibly reflect on the 'Uncanny'. The first years edition Onheimelijk I (Oct-Dec 2008) was a sortof pilot edition broadcasting the general workings of the Uncanny.The second edition, Onheimelijk II (Oct-Dec 2009) focused on a single theme that had emerged during theprevious year: The Uncanny in crisis situations, or how does the uncertainty of climate change make architecturalinteriors agents of change? Unfortunately, it was not possible to show results as the workshop had not ended atthe time the article was due. Our aim consequently is to build on last years accomplishments and acquiredcompetence. In so doing, we envisage a gradual accumulation of knowledge competence.

The publication of the book Onheimelijkheid (Deckers, 2009) is in a way an experiment in architecturalrepresentation. The book which was published at the end of the Design Studio, in January 2009, encompassesthe projects carried out by twelve students. Made in thirteen weeks, the book also reports on the structure andresults of the workshop, a study trip to Berlin and a public exhibition of the workshop. The booklet shows thedifferent communication levels with an overview of the individual and cooperative accomplishments of thestudents, chronologically and thematically ordered. Naturally, a lot of attention was given to editing and arrangingthe text and images into a single, logical and coherent whole as with any architectural representation.

Example of an experiment in architectural representation andParticipatory Action Research:

the making of the book Onheimelijkheidwhich presents the structure and results of the Design Studio and final exhibition

(Fig. 7)

The exhibition Onheimelijkheid (Ghent, 15/16-12-08) was organized with the active participation of all students.More in particular, a group of students is accounted responsible for this task. They have chosen on a voluntarily

basis to do this. By doing so, they are emotionally involved in this exhibition in order to make it a success. The


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logistical part in organising an exhibition of this kind is like an exercise in handling crisis situations anddeadlines. It is 'Uncanny' to see that each year the opening of the exhibition is established just a few secondsbefore! The public showing of individual student works is quite successful in terms of number of visitors: theexhibition attracted over two hundred visitors during one day and one evening . The total organisation (findingsponsors, location, insurance, publicity, exhibition design and so on) of this exhibition was accomplished in 13weeks time. The guestbook, as copied in the back of the book is a written account of how visitors specificallyperceived and experienced the theme of Uncanny: the guestbook is suitable to retrieve information from visitors.

Photo of the exhibition onheimelijkheid, December 2008: the organisation of the exhibition is an uncanny exercisein handling crisis situations. (Fig. 8)

Communication of the studio working is exemplary for a care of things.Visual and written media are publicly addressed by the students in order to publish results that are obtained duringthe whole process of the design studio. Sponsors are spoken to in order to financially support the design studio:this demand creates a moral and ethical appeal to society as a whole. Inside the architecture school, thepopulation of students, teachers and personnel are addressed by posters and sponsoring days. Within the designstudio, a weekly monitoring ensures the internal communication and involvement through written reports, surveysand interviews. These reports are published on a common weblog/website accessible to all concerned. Thewebsite serves as a virtual server to exchange information. The website provides also a good opportunity to meetup outside school hours.

Events as a way to build up individual and cooperative competenceOne can argue that through the educational workings of the Uncanny, we are starting to build up individual andcooperative competence through the organisation of set of fixed events: exhibition, school trip and publication.


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These events are in a way the backbone in which the Uncanny is allowed to expand freely and rigorously. Anevent conditions the mind and attention of all involved towards one point in time. Its outcome is not predictablebut provides a common ground for enthusiasm to grow.

Conclusion: The Uncanny as a creative device for architectural representation and educationThe second part of the article covers the practical results of the research by education. In turn, this educationalresearch /research by design nourishes and questions the architectural theory of the Uncanny. The symbioticbut critical relationship between research by education and architectural theory building is the very essence of ourresearch. The educational outcome of the Uncanny starts informing the theory of the Uncanny, and back again.Through research conducted by students and teacher and through post factum research, we achieve insight whatthe architectural Uncanny could be about. The design studio becomes an experimental place on a 1/1 scalewhere the 'Uncanny' starts to take shape. This way it's already a form of representation of 'Uncanny' as such!Finally, the process works loop wise: the theory of the architectural Uncanny informs and also guides theeducational research and back again. It is essentially a cyclical and accumulative process consistent with theproposed pedagogical model (Fig. 4).One can consider the first part of the article (theory of the architectural Uncanny) as an individual track developedby the author whilst second part (the research by education) is developed collectively by the author and students.The Uncanny is the common and inclusive quest for growth in collective and individual competence, both inpedagogical and architectural research. The architectural 'Uncanny' intends to simultaneously bridge the gapbetween theory and practice, imagination and representation, time and space. In other words, as a theory and apractice, the architectural 'Uncanny' has the capacity and inherent duty to become a creative device for botharchitectural representation and education.

ReferencesBolnow, Otto F. Mensch und Raum ( Stuttgart: Kolhammer, 1963)Burke, E. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful, The Harvard Classics (NewYork P.F. Collier & Son company, 190914)Deckers, K. Onheimelijkheid (Gent, 2009)Ficacci, L. Piranesi, the etchings, (Rome: Benedikt Taschen, 2000)Freud, S. the Uncanny, (London: Penguin books, 2006 (1919))Heidegger, M. Sein und Zeit (Leuven: Kritak, 1927).Husserl, E. Thing and space: lectures of 1907( Leuven: kritak, 1997)McCloud, S. Understanding Comics, an invisible art (New York: Harper, 1994)Norberg-Schulz, C. Architecture: presence, language, place, (Milan: Skira, 2000)Norberg-Schulz, C. Meaning in western architecture (New York : Praeger, 1975)Tschumi, B. The Manhattan Transcripts (London: Academy Editions, 1994 (1979))Van Berkel, B. move (Goose Press, Rotterdam: Goose Press, 1998)Verbeke, J.; Belderbos, M; Nilsson, F. The Unthinkable doctorate, (Brussels : Press Point, 2006)Vidler, A. The Architectural Uncanny. Essays in the Modern Unhomely. (Cambridge, MA: MIT, 1992)Zimm, M. Losing the Plot (Stockholm: Axl Books, 2005)

Figures

Figure 1 : Threefold phenomenology of time developed by Christian Norberg-Schulz (based on Husser andHeidegger ): Any act of thinking is the simultaneous assemblage of past (memory), present (identification) andfuture (orientation). Figure 2 : Closure: The reader is invited to wilfully and mentally connect the gap between panels in acontinuous and unified reality. Figure 3 : the architectural experience can be read as a succession of many subplots. Figure 4 : Creation of a pedagogical model : this time diagram indicates individual and collective competencegrowth during the Uncanny design studio covering 13 weeks.Figure 5 : diagram of individual trajectoryFigure 6 : diagram of collective trajectoryFigure 7 : example of experiment of representation and Participatory Action Research : the making ofonheimelijk exhibiting the results of design studio


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Figure 8 : Example of experiment of architectural representation and Participatory Action Research : the making ofthe book onheimelijkheidshowing the structure and results of design studio and final exhibition.

Biography of the author: Karel Deckers (1975)The author of this article is currently working as an architect in Brussels, Belgium in his own practice and regularly contributeswritten articles for the Giornale dellarchitettura. He teaches at St. Lucas, interior architecture in Ghent and Brussels, Belgium.

Hes currently a PhD student at the Chalmers University of Technology in Gothenburg, Sweden.

Documents

The Cultural Role of Architecture 2010 - Presentation - Deckers, Karel