This Master’s Thesis analyses the architectural practice of DOGMA through the aesthetic category of the uncanny. Drawing on a theoretical genealogy of the uncanny in modern culture, it develops a conceptual framework to examine how three architectural mechanisms – elimination, repetition and codification – produce distance, unease and the suspension of interpretation.
The analysis focuses on the formal, representational and spatial mechanisms through which DOGMA’s architecture replaces the experience of the domestic with abstract systems, giving rise to an inhuman architecture that operates autonomously from the subject’s experience.
Repository: UPM Digital Archive