“Wroughten” refers to the role of the tactile in contemporary form making. Descriptively, the term encompasses that which is carefully formed or worked into shape. Conceptually, “Wroughten” references Adolf Riegl’s study of medieval metalwork and its role in the early history of aesthetic production. Christopher Wood has noted that “Riegl’s model of a universal haptic approach to artifacts was superseded or concealed by a universal optical relationship” (“Riegl’s Mache”, 2004). Consequently, some time around the Renaissance, a shift occurred that favored a subject-centered view of the world over a discourse relating to the perception and manipulation of objects.  

This project denies the authority of the architectural field (continual space of communication), permitting the strange and unexpected interaction of multiple and heterogeneous objects (diverse space of coexistence). This suggests that contemporary aesthetic production is now on an inverse trajectory.