Architectural Hauntology

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Architectural Hauntology

Tripp, Joshua

URI: http://hdl.handle.net/10429/2451

Date: 2023-04-28

Abstract:

This thesis is about ghosts as they manifest within and influence our experience of the built environment. In this study, ghosts are defined as things of the past which are no more, yet they affect our experiences nevertheless. This thesis employs a qualitative methodology, studying and refining the knowledge of architectural ghosts by reviewing previous literature, collecting memories and experiences through interviews, and the creation of interpretive art. Through the study of numerous philosophers, sociologists, anthropologists, architectural theorists, and other thinkers, our unique, individual experience of being haunted is explored. Previous definitions of architectural ghost vary wildly, yet they all include an undercurrent which suggests a broader umbrella definition. This thesis seeks to question what an architectural ghost is; how the past helps to build our own understandings of the built environment; and how architects can and have used these “Ghosts” in their designs. As this thesis is particularly focused on the phenomenological aspects of this topic, it employs methods which experiment with the definitions and unique phenomena being explored. These methods include conducting interviews and using social media to obtain personal memories of specific locations; crafting interpretive, mixed media art pieces, films, and installations; and writing poetic narratives to further develop the atmospheres created by these works. i Ultimately, this thesis seeks to create a framework for evaluating how ghosts manifest in architecture as well as how they influence our experience of the spaces they inhabit. This framework is then applied in two different scenarios. The first scenario details “ghost hunting” within the University of Detroit Mercy Architecture Building. The second suggests different routes on how to “reincarnate” the ghosts of the recently-demolished Allen Park Theater. This is all towards emphasizing storytelling and framing architecture in our own unique realities, exploring and confronting our pasts in interesting ways, and- perhaps- beginning to explore more alternatives to historic preservation.

Description:

Introduction In this thesis, the phenomenon being studied is the influence of our collective and individual pasts on our present experiences within the built environment. This relationship is framed through the metaphor of ghosts- things from the past which haunt us. These hauntings are not inherently a bad thing, as so often depicted in popular culture, but can range from traumatic to nostalgic based on the past being recalled by the user. The way in which these hauntings manifest within the built environment, and how users are influenced by them is elaborated upon as well. Supplemental to this is an exploration of specific phenomena which impact the experience of the build environment. The first investigates how we experience immaterial qualities through the lens of Rudolf Steiner’s concept of anthroposophy- the idea that human beings can perceive spiritual realms of reality through intuition. Next evaluated is how ghost stories and memories intermingle, creating “Ghostlore,” as described by Prof. Elizabeth Tucker. And finally, how our imaginations affect the poetics of space described by Gaston Bachelard is investigated. In the end, applications of this framework are presented, through an examination of the ghosts in an existing building, and the transmigration of ghosts into new spaces. Background Architectural ghosts have been an oft studied phenomenon, but one which is seldom agreed upon. Definitions range wildly. Scholar Jeanette Bicknell defined them as buildings which remain in the cultural memory even after they are demolished. Architectural Theorist Antoine Picon wrote on the field of architecture itself being haunted by all of the aspects of the past which influence the designer in the present, including things like precedents, canon, styles, aesthetics, and societal values. Artist Sunil Bald likened trauma so intense that it becomes palpable in the very environment (such as at the sites of the World Trade Center, or Hiroshima) to being haunted. Sociologist Michael Mayerfeld Bell took the concept of the Genius Loci or Spirit of a Place as being the symbolic presence of a location’s previous occupants which can be felt. The definition of ghost used in this thesis draws most closely to another sociologist, Avery Gordon, who wrote about how the actions of the past linger in the present and often lead to marginalization and oppression, as well as the field of “Hauntology” coined by Jacques Derrida. This thesis’ definition, while not focusing specifically on the traumatic elements of previous definitions, views ghosts as being aspects of the past which no longer exist and influence our current experiences, common through-lines in each of the previous definitions. Further reading comes in the form of theorists such as Rudolf Steiner, who wrote on the phenomenological experience of immaterial worlds. His theory of anthroposophy explored how humans can sense “spiritual” phenomena such as communication, thoughts, and personality. Also under consideration are the works of folklorist Carl W. von Sydow and his classifications of prose and oral legends; Prof. Elizabeth Tucker, and her studies of Ghostlore in universities; as well as the seminal work The Poetics of Space by Gaston Bachelard. Intent of Research This thesis is most concerned with the phenomenological exploration of our memories and how “ghosts” impact our perceptions of the present. Through the synthesis of previous understandings, we can begin to frame and understand what ghosts are as they relate to architecture. The experiments and studies presented in this thesis begin to probe into questions of what ghosts are, how we are influenced by ghosts, how we experience ghosts, and ultimately, how can ghosts be utilized by designers to create more thoughtful, experiential places. Thesis Despite much disagreement around the topic, architecture deserves a place within the discourse around ghosts, as we have many tools for identifying and designing alongside these ghosts. This thesis seeks to refine architects’ knowledge of ghosts. In the end, a framework for evaluating the ghosts within a space, along with their effects, is produced, as well as depicting how these ghosts could be studied and designed with. Evidence This thesis has drawn heavily from existing research, historical documentation, interviews, and interpretive art pieces to explore the phenomenon of architectural ghosts and memory. Specific studies include: -Studies of previous theorists have allowed for a synthesis of concepts which has become the main thesis point. -Studies of previous theorists and precedential art pieces, which support the idea of feeling or sensing memory despite its immateriality. -Collections of personal memories which relate to feeling the past, which begins to show how memory and our senses are related. -Collection of personal memories about the Detroit Mercy Architecture Building through one-on-one interviews with students and faculty, which begins to build on the idea that memories influence our individual perceptions. -Interpretive art installation which attempts to stylistically disseminate the above-mentioned collected stories, seeking to see how others’ memories transform our own experiences. -Historical research about the Detroit Mercy Architecture Building to better understand the historical context. -Exploration and documentation of memory traces within the Detroit Mercy Architecture Building, to begin developing an understanding of the physical traces left by architectural ghosts. -Historical Research about the Allen Park Theater to better understand the historical context of this new site. -Collection of Personal Memories about the Allen Park Theater through Facebook Surveys, to better understand the specific poetics of this unique space. -Interpretive film which attempts to explore how these collected stories impact the poetics of space. -Photo Collage which attempts to explore the concept of a memory landscape which extends beyond the walls of the Allen Park Theater. -Interpretive collages inspired by precedent analyses which suggest future developments of the site of the Allen Park Theater which use its architectural ghosts. Criticism This thesis is highly subjective, and thus can be contested by anyone who does not share a similar interpretation of experience. The criteria for this thesis’s definition of Architectural Ghost could also be debated. One major element which appears in many other definitions is the idea that hauntings and ghosts are inherently traumatic or generally negative, yet this aspect is not carried over into this thesis’s broader look at the phenomenon. Additionally, the use of pseudoscientific theorists such as Rudolf Steiner could be problematic to credibility. Limitations As this thesis is framed around the inherent subjectivity of perception, there is no meaningful way to argue against the point that someone’s perception may not align with this theory. This thesis’ definition lacking the common aspect of trauma as it relates to ghosts is also valid. However, the reason for excluding this aspect was to include the memories of the past which are positive, as well as the negative. The use of some pseudoscience, such as Steiner’s Anthroposophy is not included because of a whole-hearted belief in the concept as a science, but in its application to the theoretical and hypothetical. This still becomes a challenge, as delving deep into the broader Anthroposophical movement brings forth era-appropriate, but still immoral and reprehensible conceptions of race. In regards to limits of this thesis’s process, while the surveys put out into facebook groups were useful for connecting with older demographics who may have experienced a certain building, it also limited the sample size in other ways. During an exploration of the Remick Bandshell in Belle Isle, MI, the feedback received was predominantly from middle class, white people. As Detroit is far more diverse, this is an obvious shortcoming of the methodology. Conclusion This thesis’ exploration of how our experience of architecture is influenced by the past can help architects to work more thoughtfully, and create designs which have the potential to be in unique dialogue with the past. It can also be used as a unique lens through which we, as designers and users, can explore our wholly individual perspective on the reality we live in.

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