Late in their architectural career, Alison and Peter Smithson designed an eighty-square-foot, indoor-outdoor space for a man and his cat. The Smithsons described this modest space in methodological and phenomenal terms, noting that the addition to Axel Bruchhäuser’s Hexenhaus could be read “as an exemplar of a method by which a small physical change—a layering-over of air adhered to an existing fabric—can bring about a delicate tuning of persons with place.” The Hexenhaus’ tuning elements—second skin, tree screen, and double-acting mesh—create (...) a “treillage’d space” that supplants mediation, reframes attunement, and elicits an active weaving of person, place, and phenomena. This paper seeks to understand what the architects meant by “tuning” and in the process to outline operations for spatial weaving. (shrink)

Spoil islands are overlooked places combining dirt with paradise, waste-land with “brave new world,” and wildness with human intervention. Mundane products of dredging, these islands form an uninvestigated archipelago that demonstrates the potential value and contested re-valuation of landscapes of waste. Research navigates the U.S. east coast from New York City to Key West, examines these marginalized topographies to understand emergent concerns of 21st-century placemaking, public space, and infrastructure, and discovers that spoil islands constitute an unprecedented public commons, where human (...) agency and nature are inextricably linked. (shrink)

Late in their architectural career, Alison and Peter Smithson designed an eighty-square-foot, indoor-outdoor space for a man and his cat. The Smithsons described this modest space in methodological and phenomenal terms, noting that the addition to Axel Bruchhäuser’s Hexenhaus could be read “as an exemplar of a method by which a small physical change—a layering-over of air adhered to an existing fabric—can bring about a delicate tuning of persons with place.” The Hexenhaus’ tuning elements—second skin, tree screen, and double-acting mesh—create (...) a “treillage’d space” that supplants mediation, reframes attunement, and elicits an active weaving of person, place, and phenomena. This paper seeks to understand what the architects meant by “tuning” and in the process to outline operations for spatial weaving. (shrink)