The unifying thesis of my combinatory work was to create a single, readable division of my central form and to unify all other design elements along that division.

Process art infuenced the earth artists to remove art from the cryogenic state of gallery displays and museum vaults. Letting materials weather with time embodied a pragmatic understanding of our work’s temporary connection to location and culture. In my design, the day time experience of the house changes with the site as there are no divisions between outside and in. The only solid walls are those separating the most intimate of daily needs from public view. The remaining walls are transparent and merely serve to guide circulation and maintain visual connection to the surrounding landscape. At night, these invisible walls are illuminated to create a tangible feeling of separation from the outside world.

Smithson’s Spiral Jetty (1970) greatly inspired this design in its physical mutability and temporary invisibility resulting from an unobstructed situation among the forces of nature and time. In the same way, the house only functions conceptually as an autonomous structure at night.During the day, it is a lightweight steward for the residents’ interactions with their natural surroundings. Light thereby functions as the macro formal divisor bringing my combinatory eforts from last quarter into a functional reality.