Wall House 0.2



Everyone from the child to the metaphysician agrees that building a wall is a fundamental act of Architecture. There are many different types of walls and many different places you can build a wall. This task is at the discretion of the Architect.

Here is my wall. It's a standard partition wall detail blown up so that a human is roughly the size of Jerry from the Tom & Jerry cartoon.
*(Tom often chases Jerry because Jerry has been trying to get a piece of cheese. Jerry lives inside the wall. It is inside the partition wall that Jerry successfully evades Tom. Although Tom is able to reach into the partition wall with his cartoon paw, it is most likely that Jerry has built his house far enough inside the wall that Tom can't reach it, and therefore the portion between the hole and the home acts as an interstitial courtyard. Tom is often subservient to his human owners and bullied by the dog [I cannot recall the dog's name right now], which adds another level of scalar humor. We can clearly understand Tom's antagonism towards Jerry as a psychological expression about his own helplessness against the humans

and the dogs. We never see the humans, but if I remember correctly, sometimes we see their shoes and lower legs, notably the archetypal mid-century homemaker.)

Even Architecture's most bespoke icons must concede to the occasional partition wall to conceal what Reyner Banham refers to as a building's “mechanical pudenda.” The partition wall therefore evades aesthetic affiliations of class or cultural difference by its very ubiquity.

The proposal is to create a standard partition wall detail at approximately 20:1 scale. By scaling up, standard materials of construction such as drywall and baseboard become phenomenal. The space becomes thick enough to be inhabitable. Rather than simply dividing inside from outside, the enlarged wall section contains a third, “in-between” space where much of the modern magic of HVAC, plumbing, and electrical occurs undetected. This thickened space of informational and energy exchange is often a site which is ripe for paranormal visitation in traditional Victorian fiction. It is also in this space that society's unwanted biological organisms such as rodents, insects and mold tend to carve out their comfortable domestic life in such close proximity to unsuspecting homeowners.

Downsizing (2017) was a pretty bad movie not because of its overarching premise to miniaturize the entire human race for ecological reasons, but because the miniaturization of society was an attempt to restore an outdated model of typical suburban living rather than imagining more novel possibilities. The best moments were found in the uncomfortable simultaneity of scales and the awkward animosity between mini and full-sized humans. In fact, the more immediate and perhaps unconscious cultural commentary of Downsizing is that our social reality and its accompanying visual culture has already been miniaturized to fit the size of our smartphone screens. This is a profoundly ironic reversal from the original intended effects of cinema, which was to enlarge the actors and actresses to a heroic, godlike scale via projection onto the silver screen, and therefore granted authority to define societies' various mythos.

After a while we got bored of the Wall House so we projected the drawing as a 3D model and a new form emerged. We decided that it's a good idea to focus on the idea of Newness in order to remain relevant and to inspire people to be creative and think about Architecture in different ways.