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Beginning in the lateÌýeighteenth century, socioeconomic changes due to rapid urbanization defined aÌýclear demarcation between public and private realms. In opposition to theÌýchaotic milieu of the cities, the notion of home as a site of refugeÌýwas evenÌýmore reinforced, propagating a cult of domesticity in the bourgeois society.ÌýDisplaying excessive interior decorations and countless collections of personalÌýobjects, home has become an inwardly-constructed embodiment of one’sÌýdesires,Ìýmemories and emotions. Not only a hideout from the external world but also anÌýexposé of one’s repressed unconscious, home becomes simultaneously a place ofÌýthe homely and the unhomely.
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The thesis investigates theÌýphenomenology of the ambivalent nature of everyday architecture. Within banalÌýlandscape of familiar world, the unhomely emerges and subverts the preconceivedÌýnotion of architectural space. What was onceÌýinextricably linked to one’sÌýsenses is now being questioned of its validity and reliability. The unhomely isÌýnot a physical setting located in a particular site, nor a mere stimulusÌýeliciting certain emotions; rather, it is the process of re-contextualizationÌýof one’s intimate relationship with the world. This architectural phenomenonÌýreveals the notion of death living in our existential temporality through theÌýprocess in which the unconscious is projected onto the physicalÌýmateriality ofÌýarchitecture. It is the fearful nature of everyday space which unbecomesÌýitself, separating our bodily ego from the world of familiarity.
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The following work attemptsÌýto analyze the nature theÌýun-Ìýof theÌý[un]homely. This mechanismÌýindicates that our everyday space is imbued with a precarious, yet, powerfulÌýenergy of becoming that constantly transforms the familiar into theÌýunfamiliar.ÌýIn the space of the unhomely, we are haunted by our own emotions andÌýimaginations which create a new kind of architectural experience beyond theÌýdomain of the corporeal.
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