Bleeding Details

This thesis begins at my Nani Ji’s house. Movies depicting Hindu mythology played in the background of our family gatherings- movies where Hanuman would grow to the size of a mountain or Shiva would morph between genders. These shifts between scale, gender, and material affirmed the queerness I had...

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Bibliographic Details
Main Author: Mohan, Sahil
Other Authors: Modesitt, Adam, Massachusetts Institute of Technology. Department of Architecture
Format: Thesis
Language:unknown
Published: Massachusetts Institute of Technology 2024
Subjects:
Online Access:https://hdl.handle.net/1721.1/155066
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spelling ftmit:oai:dspace.mit.edu:1721.1/155066 2024-06-23T07:53:48+00:00 Bleeding Details Mohan, Sahil Modesitt, Adam Massachusetts Institute of Technology. Department of Architecture 2024-02-22T22:02:21.988Z application/pdf https://hdl.handle.net/1721.1/155066 unknown Massachusetts Institute of Technology https://hdl.handle.net/1721.1/155066 In Copyright - Educational Use Permitted Copyright retained by author(s) https://rightsstatements.org/page/InC-EDU/1.0/ Thesis 2024 ftmit 2024-05-29T01:02:38Z This thesis begins at my Nani Ji’s house. Movies depicting Hindu mythology played in the background of our family gatherings- movies where Hanuman would grow to the size of a mountain or Shiva would morph between genders. These shifts between scale, gender, and material affirmed the queerness I had yet to find words for. They taught me that boundaries expand and contract. Everything was interconnected. I could be a mountain. This preoccupation with Hindu Gods led me to their home: Mount Meru. Hindu, Jain, and Buddhist cosmologies consider this sacred five-peaked mountain to be the center of all physical. Metaphysical, and spiritual universes among other centers. Religious anecdotes imply that the Hindu-Kush Himalayan Ice Sheet is this focal point. And the Ice Sheet sustains a complex history: a history of water in its many forms, a history of religious diversity and spiritual importance, a history of war and boundaries. Boundaries drawn like a line. And so too, architecture continues to occupy itself with the line. It considers and abstracts an ideal future by drawing precise lines that separate buildings from environment. This abstraction may be necessary for the field, but it leads to a fixation on strategies of centering segregation, precision, and predictability. Drawings have become a passive instrument of information. They imply an impossible neutrality which produces objects that endure, rather than bodies that engage their contexts. But a world assembled by determined moments and perfectly fixing parts could harbor no life. Nothing could move or become. What if the methods of architecture reflected the flow of water or the fluidity of human embodiment? This thesis is as much a question as it is an answer. Can architecture cross and blur boundaries and binaries: queer and heteronormative, land and water, human and nature? When and how would it all dissolve? What happens to architecture when the details bleed? M.Arch. Thesis Ice Sheet DSpace@MIT (Massachusetts Institute of Technology)
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description This thesis begins at my Nani Ji’s house. Movies depicting Hindu mythology played in the background of our family gatherings- movies where Hanuman would grow to the size of a mountain or Shiva would morph between genders. These shifts between scale, gender, and material affirmed the queerness I had yet to find words for. They taught me that boundaries expand and contract. Everything was interconnected. I could be a mountain. This preoccupation with Hindu Gods led me to their home: Mount Meru. Hindu, Jain, and Buddhist cosmologies consider this sacred five-peaked mountain to be the center of all physical. Metaphysical, and spiritual universes among other centers. Religious anecdotes imply that the Hindu-Kush Himalayan Ice Sheet is this focal point. And the Ice Sheet sustains a complex history: a history of water in its many forms, a history of religious diversity and spiritual importance, a history of war and boundaries. Boundaries drawn like a line. And so too, architecture continues to occupy itself with the line. It considers and abstracts an ideal future by drawing precise lines that separate buildings from environment. This abstraction may be necessary for the field, but it leads to a fixation on strategies of centering segregation, precision, and predictability. Drawings have become a passive instrument of information. They imply an impossible neutrality which produces objects that endure, rather than bodies that engage their contexts. But a world assembled by determined moments and perfectly fixing parts could harbor no life. Nothing could move or become. What if the methods of architecture reflected the flow of water or the fluidity of human embodiment? This thesis is as much a question as it is an answer. Can architecture cross and blur boundaries and binaries: queer and heteronormative, land and water, human and nature? When and how would it all dissolve? What happens to architecture when the details bleed? M.Arch.
author2 Modesitt, Adam
Massachusetts Institute of Technology. Department of Architecture
format Thesis
author Mohan, Sahil
spellingShingle Mohan, Sahil
Bleeding Details
author_facet Mohan, Sahil
author_sort Mohan, Sahil
title Bleeding Details
title_short Bleeding Details
title_full Bleeding Details
title_fullStr Bleeding Details
title_full_unstemmed Bleeding Details
title_sort bleeding details
publisher Massachusetts Institute of Technology
publishDate 2024
url https://hdl.handle.net/1721.1/155066
genre Ice Sheet
genre_facet Ice Sheet
op_relation https://hdl.handle.net/1721.1/155066
op_rights In Copyright - Educational Use Permitted
Copyright retained by author(s)
https://rightsstatements.org/page/InC-EDU/1.0/
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