Since the beginning of modernism, architects have often overlookedthe mysterious and profound emotive influence space has on us.In the 18th and 19th centuries, scientific methods of drawing andsimulating architecture were mathematically perfected. An exampleis that a perspective drawing could be precisely constructed usingthe measurements of a plan drawing. In effect, these technologicalinnovations reduced space to a measurable emptiness. When themysterious gap between our visual experience of space and its physicalpresence could be mathematically calculated, our conceptualization ofspace lost its premodern mysticism. 

In this thesis I use contemporary tools derived from these 18th and19th century innovations to reveal that space is not a mathematicalemptiness. Rather than considering space an empty void, I seek torediscover its profound phenomenological effect.

My drawings, models, digital spaces, artifacts etc., are derived fromthe perception of digital cameras and sensors. I investigate how thesemachines perceive space from specific vantage points, and how theycan be used to produce objects of thought. My work explores the limitsof the data (textural, spatial, etc.) I can extract from them. This isdone by translating this data into representational artifacts (drawings,models, digital spaces etc.) that hold onto qualities beyond description.In this process I reach a point where I am confronted by somethingutterly unfathomable, or where the initial qualities I am attempting tomaterialize are lost in translation. Ultimately, the phenomenologicaleffect of space is difficult to fully grasp. This work manages to comeinto contact with perceptual qualities of various spaces from differentangles, but never uncovers their mystery.