I set out to learn something basic about architecture, something foundational on which to situate the conceptual and rhetorical exercises played within the studio. In settings both academic and professional I had been encouraged to reduce my study of architecture to a cerebral and retinal game of sorts played out via ever-increasingly seductive imagery. It seemed apparent that in order to think about architecture I should have been involved in an act of architecture. My intentions, albeit naïve, were to engage architecture on its own terms, through its own medium, to return to first principles, if there ever were any, and to acquire a form of embodied architectural knowledge inseparable from its material becoming. There was no amount of hypothesizing, theorizing, no amount of digital sophistication that could supplant the basic educational experience gained from involving myself with real materials, in a real place, with a fully engaged being. With this in mind I journeyed into Ontario’s North, with little more than a hammer and saw and a desire for experience, that most brutal of teachers. I would engage in a basic act of building as a method of acquiring a deeper understanding of the subject I had been studying for several years yet whose essence I felt I knew very little about. The resultant document, informed by traditions of the primitive hut, records a journey towards architectural embodiment; it resides as an argument for the reintroduction of embodied forms of learning into the education of the architect.

I set out to learn something basic about architecture, something foundational on which to situate the conceptual and rhetorical exercises played within the studio. In settings both academic and professional I had been encouraged to reduce my study of architecture to a cerebral and retinal game of sorts played out via ever-increasingly seductive imagery. It seemed apparent that in order to think about architecture I should have been involved in an act of architecture. My intentions, albeit naïve, were to engage architecture on its own terms, through its own medium, to return to first principles, if there ever were any, and to acquire a form of embodied architectural knowledge inseparable from its material becoming. There was no amount of hypothesizing, theorizing, no amount of digital sophistication that could supplant the basic educational experience gained from involving myself with real materials, in a real place, with a fully engaged being. With this in mind I journeyed into Ontario’s North, with little more than a hammer and saw and a desire for experience, that most brutal of teachers. I would engage in a basic act of building as a method of acquiring a deeper understanding of the subject I had been studying for several years yet whose essence I felt I knew very little about. The resultant document, informed by traditions of the primitive hut, records a journey towards architectural embodiment; it resides as an argument for the reintroduction of embodied forms of learning into the education of the architect.

[pt] Segundo correntes de pensamentos que anunciam a condição distópica promovida pelo que se convencionou nomear capitalismo global integrado, entra em crise a noção de Humano. Guiados via satélite a transitar por mapas digitais, aventa-se que este trajeto histórico nos conduziu até a rua sem saída deste suposto realismo capitalista. É este o cenário labiríntico de uma sociedade do cansaço, em que os poderes governamentais articulados pelo capital se infiltram pela frágil divisão entre cultura e natureza. O sono, segundo o pesquisador Jonathan Crary, simboliza a última fronteira entre as versões mais atualizadas de uma tecnocracia objetiva que se apodera dos corpos para anestesiar o sensível e, portanto, normatizar os modos de vida a partir também da reorganização da percepção. Na esteira, portanto, de respostas acerca do que fabrica mundos – e suas consequentes formas de habitá-lo – e acerca da emergência de ventilar outros possíveis desdobramentos, esta dissertação debruça sobre a experiência onírica ressignificada como gesto estético-político. Pode o sonho agir como uma mediação – ou como manifestação – de disputa de imaginários capaz de despertar para uma forma de vida sympoiética? É pelo reencantamento do mundo, a partir de um lirismo onírico – e onírico aqui no sentido amplo e do senso comum – que este trabalho será conduzido, visando uma exploração topográfica na tentativa de constituir outra paisagem de mundo. / [en] Oneilyrical Imaginism: A cartography crossing landscapes. According to groups of thought that announce the dystopic condition promoted by what has been called integrated global capitalism, the notion of Humanism plunges into a crisis. Guided by satellite to navigate on digital maps, it is revealed that this historical route led us to a dead-end in a supposed capitalist realism. This is the labyrinthic scenario of a society of weariness, in which governmental powers articulated by capital infiltrate the fragile division between culture and nature. Sleep, according to researcher Jonathan Crary, symbolizes the last frontier between the most up-to- date versions of an objective technocracy that seizes bodies to anesthetize the sensory and therefore normalize lifestyles from the reorganization of perception. In the wake, therefore, of answers about what creates worlds - and their consequent ways of inhabiting it - and about the emergence of letting out other possible outcomes, this dissertation focuses on the dream experience resignified as an aesthetic-political gesture. Can the dream act as a mediation - or as a manifestation - in a dispute of imaginaries be capable of promoting a sympoietic way of life? It is t rough the re-enchantment of the world, from a dream perspective – here in a broad and common sense – that this work will be conducted, aiming at a topographic exploration in the attempt to constitute another landscape of the world.