February 2025
Prophetic Architecture
by: landon wiensin conjunction with AI
Materiality plays a crucial role in prophetic design, particularly in its relationship to time. Buildings are often conceived as static monuments, yet prophetic architecture embraces transformation, decay, and renewal. Zumthor’s Bruder Klaus Chapel is a compelling example of this ethos, constructed with a timber framework that was deliberately burned away to create an interior of charred walls.[1] This process of destruction and creation mirrors agrarian cycles, where decay is an integral part of regeneration. Similarly, weathering steel, rammed earth, and other materials that evolve over time allow buildings to bear the imprint of their environment, reinforcing the idea that architecture should not resist nature but rather engage in a dialogue with it. These materials become records of time, reflecting changing climates, human touch, and the gradual erosion of surfaces, much like the patina of ancient ruins that continue to carry the weight of their histories over centuries.
Beyond materiality, prophetic architecture thrives on the adaptive reuse of spaces, transforming remnants of the past into frameworks for future habitation. My senior undergraduate project proposed an urban farm in Detroit’s industrial center, repurposing abandoned rail corridors and vacant lots into productive green spaces. This transformation fosters communal rituals of planting and harvesting, revitalizing the landscape. This practice echoes the philosophy of artist Theaster Gates, whose Rebuild Foundation turns post-industrial blight into sites of cultural renewal.[2] Such projects counteract the trend of architectural tabula rasa, which erases history in favor of sterile new developments. Instead, they acknowledge the embedded narratives within spaces, treating architecture as a living document that evolves through collective stewardship.
Through this exploration, it becomes evident that prophetic architecture is not a static discipline but a fluid, evolving practice. The Lascaux IV Caves Museum exemplifies this idea by replicating prehistoric art through contemporary digital techniques, preserving cultural memory while embracing modern fabrication methods.[4] This duality between preservation and innovation is central to the prophetic ethos.
Henry David Thoreau, in Walden, argued that human-built environments should harmonize with nature rather than dominate it. This philosophy remains relevant today, as architecture grapples with issues of sustainability, displacement, and material ethics. By centering community agency, regenerative materiality, and embedded cultural memory, prophetic architecture offers a way to conceive of the built environment not as a fixed product but as an ongoing process of care, adaptation, and storytelling.
[1] “Peter Zumthor’s Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti,” ArchDaily, October 29, 2016,
[2] “Chicago Arts and Industry Commons - Project Items - Theaster Gates,” accessed February 22, 2025,
[3] Nathan Gardels, “Post-Anthropocene Humanism,” June 30, 2023
[4] “Gallery of Lascaux IV / Snøhetta + Duncan Lewis Scape Architecture,” ArchDaily, accessed February 22, 2025,
AI Tutoring Sessions
AI Tutoring Session 1
Date: February 1, 2025
Topic: Symbolic Geometry – Encoding Cultural Memory in Architecture
AI Tutor: ChatGPT
Session Start
Student: “I’d like you to act as an expert in sacred geometry. I’m an architecture student trying to understand how an architect’s forms can encode cultural memory. Can you explain this concept using examples like Stonehenge, the Pyramids of Giza, and Chandigarh?”
AI Tutor: “Sacred geometry is a system of mathematical relationships and spatial organization that encodes cultural, spiritual, and societal meanings into architectural forms. Across history, civilizations have used geometric proportions, alignments, and patterns to embed memory, power, and identity into the built environment.
Stonehenge (c. 3100 BCE – 1600 BCE) uses circular geometry to represent cosmic cycles and eternity. Its alignment with the solstices encodes astronomical knowledge, functioning as a mnemonic device for seasonal and ritual practices.
The Pyramids of Giza (c. 2600 BCE – 2500 BCE) incorporate the golden ratio and are aligned with Orion’s Belt, linking them to Egyptian cosmology. Their strict geometric form embodies divine order, political power, and the concept of the afterlife.
Chandigarh (1951–1966, designed by Le Corbusier) applies modernist geometric planning, symbolizing India's post-colonial identity. The Open Hand Monument is an abstract geometric form representing peace and governance, much like ancient sacred symbols.
These examples show how architecture acts as a carrier of memory, ensuring cultural continuity through form, orientation, and proportion.”
Session Continuation: Identifying Modern Parallels
Student: “Are there modern architectural works that hold the same gravitas…monuments that encode memory in a similar way?”
AI Tutor: “Many modern buildings use geometry to encode cultural identity, memory, and meaning, similar to ancient sacred sites.
Sydney Opera House (1957–1973) by Jørn Utzon is based on spherical geometry, creating an iconic and transcendent presence. It symbolizes performance and national identity.
Church of Light (1989) by Tadao Ando uses minimalist geometry and light as primary design elements. The cruciform cut in the concrete wall serves as a spiritual and architectural symbol.
National Assembly Building of Bangladesh (1961–1982) by Louis Kahn incorporates circles, squares, and triangles to symbolize democracy and national identity. Its water integration reflects traditional monumental structures.
The Holocaust Memorial in Berlin (2005) by Peter Eisenman is a grid of 2,711 concrete slabs that create an immersive, disorienting experience, encoding memory and loss through spatial design.
The Salk Institute (1965) by Louis Kahn uses symmetrical forms and a central water axis to create a contemplative space. Its geometric alignment with the horizon suggests infinite human inquiry.
These examples demonstrate that sacred geometry in modern architecture is not just about religious or mythic symbolism but also about memorializing history, reinforcing national identity, and creating spaces of collective meaning.”
Session Conclusion: Final Thoughts & Reflection
Key Takeaways
- Sacred geometry encodes memory, transmitting cultural, spiritual, and political meanings across generations.
- Ancient precedents like Stonehenge, the Pyramids, and Chandigarh use geometric order to connect human experience with celestial cycles, divine authority, and political symbolism.
- Modern architecture continues this tradition with works like the Sydney Opera House, Church of Light, National Assembly Building, Holocaust Memorial, and Salk Institute, all of which encode collective memory, national identity, or spiritual significance through form and spatial experience.
Reflection Statement
This tutoring session helped me understand how symbolic geometry operates across different architectural periods and functions. Sacred geometry is not limited to ancient or religious structures; it also manifests in modern projects that encode cultural identity, national memory, and historical gravitas. This discussion provided a strong foundation for my research, and I plan to investigate additional case studies and spatial theories related to this topic.
End of Session Documentation
AI Tutoring Session 2: Material Immortality
Date: February 20, 2025
Topic: The Poetics of Aging in Architectural Materials
AI Tutor: ChatGPT
Session Start
Student: “I want to explore materials beyond just their technical properties. I’m interested in how they mean something. How they can hold memory, respond to time, and interact with a site in a poetic way.”
AI Tutor: “Materials are more than just structural components; they carry stories, cultural identity, and time within them. The way a material ages becomes part of the building’s narrative, marking its interaction with the world. Some materials absorb history, some resist it, and others become transformed by it. What led you to this inquiry?”
Student: “Peter Zumthor’s work, mostly. His buildings feel like they belong to a place, like they’re extensions of the landscape rather than foreign objects placed onto it. His use of local stone, raw timber, and metals that patina. It all feels intentional, like he’s letting time be part of the design.”
AI Tutor: “Zumthor is a master of material honesty—he doesn’t force materials into a frozen state but allows them to evolve. Therme Vals is a great example. The locally quarried Valser quartzite isn’t just an aesthetic choice; it’s part of the deep geological history of the Alps. The building doesn’t impose itself onto the site but instead feels as if it has grown from the land itself.”
Session Deep Dive: Material as Ritual & Memory
Student: “This is what I’m really interested in how materials don’t have to resist time but can evolve with it.”
AI Tutor: “That’s key. Modern materials like glass and polished steel are often designed to freeze time—to remain unchanged. But the most poetic materials actually record time. Think of bronze and brass—they tarnish, but human touch polishes certain areas, leaving behind bright spots where people have interacted with them. Or plaster walls, which absorb and reflect light differently throughout the day, emphasizing the rhythm of time. The best materials aren’t static; they collaborate with time. The goal isn’t just longevity—it’s meaningful transformation. When a material weathers in a way that enhances the building’s presence, it creates a sense of living architecture, where the passage of time isn’t decay, but depth.”
Session Conclusion: Key Takeaways & Reflection
Key Takeaways
- Materials are timekeepers—they record history, weather, and human touch rather than resisting them.
- Materiality can be a ritual—maintenance isn’t just about preservation but about engaging with the material’s transformation over time.
- Zumthor’s work exemplifies this approach, using local stone, aged wood, and raw metals to create architecture that feels like it belongs rather than simply exists.
Reflection Statement
This session helped me think about materials beyond their technical properties; seeing them as active participants in architecture rather than passive elements. The most powerful materials don’t resist time but welcome it, recording their own history.
End of Session Documentation
AI Tutoring Session 2: Ritual Spaces, Humanism, and the Anthropocene
Date: February 20, 2025
Topic: Ritual Spaces, Humanist Practice, and the Anthropocene
AI Tutor: ChatGPT
Session Start
Student: I want to understand ritual spaces in relation to humanist practice and presentism. I also want to explore the Anthropocene. What it means, how we design for it today, and how technology might threaten humanism. Can you break this down?
AI Tutor: Absolutely. Let’s start with the Anthropocene—a term that refers to the current geological epoch in which human activity is the dominant force shaping the Earth’s systems. Unlike previous epochs defined by natural geologic shifts, the Anthropocene acknowledges that urbanization, climate change, mass extinctions, and technological advancements have permanently altered the planet.
In architecture and urbanism, designing for the Anthropocene means reckoning with:
- Climate resilience (extreme weather, resource scarcity)
- Post-carbon urbanism (reducing reliance on fossil fuels)
- Bioregional design (working with, rather than against, natural ecologies)
- Circular economies (designing for reuse, adaptability, and long-term viability)
Humanist practice, by contrast, emphasizes the dignity, agency, and lived experience of people within these larger planetary concerns. It focuses on:
- Material and spatial tactility (creating architecture that fosters sensory and emotional connections)
- Ritual and memory (ensuring spaces hold symbolic and communal meaning)
- Empathy in design (prioritizing social equity, accessibility, and well-being)
Where these two frameworks intersect is crucial: How do we maintain human-centered spaces in an era where architecture is increasingly dictated by technology, automation, and climate crisis adaptation?
Session Continuation: Ritual Spaces in the Anthropocene
Student: How does ritual space evolve in the Anthropocene? Have our approaches to sacred or communal spaces changed?
AI Tutor: Ritual spaces—traditionally defined as sites of spiritual, cultural, or collective significance—are transforming under Anthropocene pressures. These transformations take several forms:
- Adaptive Ruins & Reclamation Spaces – Instead of constructing new sacred spaces, some communities are repurposing post-industrial ruins as sites for new rituals. Example: The Tempelhofer Feld in Berlin, a former airport, now serves as a pilgrimage site for communal gatherings and ecological restoration, rather than air travel.
- Hybrid Sacred Spaces – Traditional religious and ritual spaces are adapting to secularization and pluralism. Many cathedrals, mosques, and temples now function as civic spaces, hosting community meetings, climate protests, and public forums. Example: The Sainte Marie de La Tourette Monastery by Le Corbusier, a monastic retreat that also serves as an architectural pilgrimage site.
- Digital Ritual Spaces – The Anthropocene has brought about virtual and hybrid rituals, from online memorials to virtual reality religious ceremonies. This raises the question: Can a digital gathering space hold the same weight as a physical one? Example: The metaverse-based Yom Kippur services held during the COVID-19 pandemic, which forced a shift from embodied gathering to digital connection.
- Climate Memorials and Sites of Reckoning – Spaces commemorating climate catastrophe, extinction, and environmental loss are emerging as new forms of ritual space. Example: The Ice Stupa Project in Ladakh, India, where artificial glaciers are built as a ritualized climate intervention, ensuring water security while reinforcing local spiritual traditions.
Ritual spaces in the Anthropocene are becoming more fluid, adaptive, and responsive to globalization, climate anxiety, and technological mediation.
Session Expansion: Technology as a Threat to Humanism
Student: How does the integration of technology into design threaten humanism?
AI Tutor: Technology threatens humanism when it prioritizes efficiency over meaning, data over experience, and automation over agency. There are three primary risks:
- The Loss of Sensory & Embodied Experience
- Many contemporary spaces prioritize automation, surveillance, and smart systems that remove direct human engagement.
- Example: Algorithmically optimized cities that prioritize traffic flow and efficiency over walkability and spontaneous encounters (e.g., Masdar City, UAE).
- The Commodification of Space
- The integration of data-driven urbanism (smart cities, predictive AI, surveillance architecture) risks turning human movement into a quantified system, stripping spaces of cultural individuality.
- Example: The transformation of public squares into corporatized, ad-driven “experience zones”, where social interaction is monetized (e.g., Times Square’s increasing reliance on AI-enhanced billboards and interactive data collection).
- The Algorithmic Gentrification of Ritual Spaces
- Historically, ritual spaces evolved organically within communities. Now, data-driven planning dictates what spaces get built, who they serve, and how they function.
- Example: AI-generated worship or meditation spaces that prioritize aestheticized spirituality rather than authentic communal practices (e.g., prefabricated Zen gardens designed by algorithms but lacking lived ritual context).
This raises urgent questions: Can an AI-generated ritual space hold cultural memory? Can sacred spaces be automated without losing their depth?
Session Continuation: Future Considerations
Student: This is fascinating. So, in a world increasingly dictated by technology, how do we ensure that architecture remains a human-centered discipline?
AI Tutor: The future of human-centered architecture in the Anthropocene depends on:
- Maintaining ritual tactility – Prioritizing materiality, craftsmanship, and sensory design to counteract digital abstraction.
- Designing for pause and reflection – Creating spaces that resist hyper-efficiency and instead encourage slow, immersive experiences.
- Allowing for ambiguity and organic use – Designing with open-ended spatial meaning, rather than forcing algorithmic optimization.
- Prioritizing collective agency – Ensuring that AI and smart technology enhance, rather than dictate, spatial and communal experiences.
A successful balance between technology and humanism will require resisting the full automation of space, embedding emotional and cultural depth into our environments, and ensuring that architecture remains a medium for storytelling, presence, and meaning.
Session Conclusion: Key Takeaways & Reflection
Key Takeaways
- The Anthropocene defines an era where humans are the dominant planetary force, requiring new design frameworks that integrate climate resilience, adaptation, and sustainability.
- Ritual spaces in the Anthropocene are becoming more adaptive, incorporating post-industrial sites, hybrid sacred-secular uses, digital rituals, and climate memorials.
- Technology threatens humanism by prioritizing efficiency, automation, and data-driven optimization over embodied experience, cultural continuity, and sensory engagement.
- To maintain human-centered architecture, designers must resist total automation, embrace ambiguity, and prioritize tactile, emotional, and communal dimensions in space.
Reflection Statement
This tutoring session helped me understand how ritual spaces evolved in the Anthropocene and how technology both enables and threatens human-centered design. I now recognize that the future of ritual space is not about rejecting technology outright, but about ensuring that spatial design remains rooted in human experience, memory, and collective agency. Moving forward, I want to research further case studies of ritual spaces that balance technological integration with human-centered design.
End of Session Documentation
Annotated Bibliography
3 Body Problem. Created by David Benioff, D.B. Weiss, and Alexander Woo. Netflix, 2024.
This sci-fi series explores alien civilizations and megastructures designed to endure across millennia. It portrays technology through simulated realities as both a cultural preserver and destroyer, criticizing humanity’s relationship with progress. The show’s visual language of decay and rebirth parallels debates on architecture’s role in post-Anthropocene futures.
Altered Carbon. Created by Laeta Kalogridis. Netflix, 2018.
This cyberpunk series, adapted from the book written by Richard Morgan, examines memory preservation through AI and digitized consciousness. Its depiction of sterile, tech-dominated cities contrasts with organic, community-driven spaces. The AI hotel “The Raven” symbolizes architecture’s potential to mediate humanity and automation.The series critiques homogenized futurism, advocating for designs that retain tactile, cultural resonance.
ArchDaily. “Bruder Klaus Field Chapel / Peter Zumthor,” January 26, 2011. https://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor.
Peter Zumthor’s chapel in rural Germany employs raw concrete and charred timber to evoke spiritual timelessness. The structure’s weathering process reflects a deliberate embrace of material decay as narrative. Its geometric austerity and interplay of light create a meditative space transcending temporal boundaries. The project exemplifies architecture’s capacity to fuse ecological sensitivity with enduring symbolic meaning.
ArchDaily. “Gallery of Lascaux IV / Snøhetta + Duncan Lewis Scape Architecture.” Accessed February 22, 2025. https://www.archdaily.com/868408/lascaux-iv-snohetta- plus-casson-mann/58e24896e58eceaeb2000607-lascaux-iv-snohetta-plus-casson-mann-photo.
Lascaux IV replicates prehistoric cave art within a contemporary museum, blending preservation and innovation. The concrete shell mimics the original cave’s contours, creating an immersive dialogue between the past and present. Its use of digital projection recontextualizes ancient rituals for modern audiences. The project demonstrates how architecture can act as a custodian of cultural memory through adaptive storytelling.
ArchDaily. “Peter Zumthor’s Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti,” October 29, 2016. https://www.archdaily.com/798340/peter-zumthors- bruder-klaus-field-chapel-through-the-lens-of-aldo-amoretti.
Aldo Amoretti’s photographs capture the chapel’s evolving relationship with its agrarian landscape. The images highlight how light and seasonal changes animate Zumthor’s monolithic form. The documentation underscores the building’s role as a lived ritual space rather than a static artifact.
Boeri, Stefano, Multiplicity, Rem Koolhaas, Harvard Design School Project on the City, Sanford Kwinter, Nadia Tazi, and Hans Ulrich Obrist. Mutations. Barcelona: Actar, 2000.
This anthology critiques modernist urbanism through case studies of hybrid, evolving cities. Essays like “Harvard Design School Project on the City” dissect globalization’s impact on urban form. The book advocates for adaptive frameworks that accommodate fluid cultural and ecological systems. Its interdisciplinary approach aligns with contemporary discourses on resilient, non-linear design practices.
Cabe, Caroline. “Weird Art and What It Can Teach Us: Laloux’s ‘Fantastic Planet’ and Anthropocentrism.” The Texas Orator (blog), November 4, 2020. https://thetexasorator.com/2020/11/04/weird-art-and-what-it-can-teach-us-lalouxs-fantastic-planet-and-anthropocentrism/.
This essay analyzes Fantastic Planet’s allegorical critique of human exploitation. Cabe argues the film’s alien ecosystems challenge anthropocentric design paradigms. Its surreal visuals inspire reflection on architecture’s role in ecological symbiosis. The piece advocates for speculative narratives that decentralize human dominance in spatial practice.
“Chicago Arts and Industry Commons - Project Items - Theaster Gates.” Accessed February 22, 2025. https://www.theastergates.com/project-items/chicago-arts-and-industry- commons.
This source provides an overview of Theaster Gates' Chicago Arts and Industry Commons, a project that revitalizes industrial spaces into community-driven cultural hubs. It highlights Gates’ approach to urban renewal through art, architecture, and social engagement.
Davis, Howard, ed. Early and Unpublished Writings of Christopher Alexander: Thinking, Building, Writing. London: Routledge, 2022. https://doi.org/10.4324/9781003187516. target="_blank">https://doi.org/10.4324/9781003187516.
This collection compiles Alexander’s theories on human-centered, pattern-based design. Unpublished essays critique mechanistic planning in favor of organic, participatory processes. The text underscores architecture’s capacity to foster communal belonging across generations. Its emphasis on “timeless” forms resonates with efforts to design for cultural and ecological longevity.
Dehaene, Michiel, and Lieven De Cauter. Heterotopia and the City: Public Space in a Postcivil Society. Oxford, UNITED KINGDOM: Taylor & Francis Group, 2008. http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=342368.
This book theorizes heterotopias as liminal spaces resisting homogenized urbanism. Case studies examine how marginalized communities reclaim abandoned sites for collective agency. The authors argue such spaces sustain cultural diversity amid urbanization.
Fannon, David, Michelle Laboy, and Peter Wiederspahn. The Architecture of Persistence: Designing for Future Use. New York: Routledge, 2021. https://doi.org/10.4324/97810 03042013.
This text advocates for adaptive reuse as a tool for cultural and environmental stewardship. Case studies illustrate how repurposed buildings foster community identity amid urban flux. The authors emphasize material palettes that age gracefully, embodying layered histories. The work positions persistence as an active dialogue between past needs and future possibilities
Fantastic Planet (La Planète Sauvage), 1973. http://archive.org/details/fantastic-planet__1973.
René Laloux’s animated film depicts a world where humans are subjugated by alien ecologies. Its surreal landscapes critique humanity’s destructive separation from nature. The film’s visual metaphors inspire reflection on architecture’s complicity in ecological imbalance. Its narrative advocates for designs that recenter non-human perspectives.
Films On Demand. “Farming Detroit,” 2016. https://fod-infobase-com.ezproxy1.lib.asu.edu/p_ViewVideo.aspx?xtid=279854.
This documentary chronicles grassroots efforts to transform Detroit’s vacant lots into urban farms. It highlights agriculture’s role in community rebuilding post-industrial decline.
Frank, Adam. “The Coming Second Copernican Revolution.” The Berggruen Institute, n.d.
Frank argues humanity must redefine its cosmic significance amid ecological collapse. He advocates for systems thinking that integrates technology with planetary stewardship. The essay critiques shortsighted design paradigms that prioritize growth over resilience. Its philosophical framework informs architecture’s role in fostering intergenerational ethics.
Gardels, Nathan. “Post-Anthropocene Humanism,” June 30, 2023. https://www.noemamag.com/post-anthropocene-humanism.
Gardels reimagines humanism as a symbiotic relationship with Earth’s ecosystems. He critiques extractive modernity, advocating for humility in technological innovation. The essay positions design as a mediator between cultural tradition and ecological survival. Its arguments support architecture that embeds reciprocity into material and spatial practices.
Gross, Michael. “Life after the Anthropocene.” Current Biology 30, no. 1 (January 2020): R1–3. https://doi.org/10.1016/j.cub.2019.12.030.
Gross examines species adaptation in human-altered environments. He argues post-Anthropocene landscapes demand designs that facilitate multispecies coexistence. The article critiques anthropocentric urbanism, advocating for biodiverse, self-sustaining systems. Its scientific perspective grounds speculative architecture in ecological realism.
Growing a Greener World Episode 308 - Detroit’s Urban Renewal, 2024.
This episode showcases Detroit’s urban farms as models of community-driven renewal. It emphasizes agriculture’s capacity to heal post-industrial blight through collective labor. Interviews reveal how green spaces rebuild social ties and economic agency. The documentary underscores design’s role in translating grassroots activism into lasting spatial change.
Hill, Jonathan. The Architecture of Ruins: Designs on the Past, Present and Future. 1st ed. New York: Routledge, 2019.: Routledge, 2019. https://doi.org/10.4324/9780429429644.
Hill theorizes ruins as intentional design outcomes rather than accidental decay. Case studies explore how fragmented forms evoke memory and speculate on futures. The text critiques preservation dogma, advocating for ruins that inspire adaptive reuse. Its framework informs designs that embrace entropy as a narrative tool.
“I Never Decided to Become an Architect.” Architect Peter Zumthor, 2015.
Zumthor discusses his phenomenological approach to materiality and atmosphere. He emphasizes architecture’s capacity to evoke emotion through sensory engagement. The lecture critiques industrialized construction in favor of craft-driven, site-specific solutions. His philosophy aligns with designs that prioritize human experience over formal novelty.
Jacques Ellul. The Technological Society. Accessed February 22, 2025. http://archive.org/details/JacquesEllulTheTechnologicalSociety.
Ellul critiques technology’s domination of human values and ecological systems. He argues technique reduces complexity to efficiency, eroding cultural and environmental diversity. The text warns against architecture’s uncritical adoption of automation. Its ethical framework advocates for designs that resist homogenizing technocracy.
Lucas, Gavin, and Laurent Olivier. “The Future.” In Conversations about Time. Routledge, 2021.
This chapter examines temporality through archaeological and philosophical lenses. It argues linear time is a cultural construct that design can challenge. The authors propose “deep time” as a framework for sustainable, forward-thinking practice.
Marila, Marko M. “Rethinking Historical Time, New Approaches to Presentism: Marek Tamm & Laurent Olivier (Eds.): Bloomsbury Academic, London, 2019, 240 Pp. ISBN 9781350065086.” Norwegian Archaeological Review 54, no. 1/2 (June 1, 2021): 103–5. https://doi.org/10.1080/00293652.2021.1928743.
Marila reviews Tamm and Olivier’s work on presentism in historical discourse. He highlights how contemporary concerns reshape interpretations of the past. The critique advocates for reflexive historiography in design practice. This approach informs architecture and acknowledges its role in constructing cultural narratives.
Morgan, Richard Kevin. Altered Carbon. Takeshi Kovacs Ser, v. 1. Westminster: Random House Publishing Group, 2003.
This cyberpunk novel explores digitized consciousness and its impact on identity. Its portrayal of disposable bodies critiques architecture’s complicity in dehumanizing futurism. The narrative questions whether technology can authentically preserve cultural memory. The work inspires caution in integrating AI into heritage-focused design.
Tamm, Marek, and Laurent Olivier, eds. Rethinking Historical Time: New Approaches to Presentism. 1st ed. Bloomsbury Publishing Plc, 2019. https://doi.org/10.5040/97813 50065116.
This anthology challenges linear historiography, advocating for fluid temporal frameworks. Essays analyze how present concerns shape interpretations of past and future. The text critiques architecture’s fixation on novelty, urging engagement with cyclical time. Its theories support designs that embed layered histories into contemporary practice.
Thoreau, Henry David. Walden. Accessed February 20, 2025. https://hdl.handle.net/2027/uiug.30112037685838?urlappend=%3Bseq=12.
Thoreau’s transcendentalist memoir advocates for simplicity and harmony with nature. His observations on self-reliance critique industrialized society’s alienation from ecology. The text inspires architecture that prioritizes sensory connection to landscape. Its philosophical roots inform designs seeking to transcend temporal and material excess.
“Under | Snøhetta.” Accessed February 22, 2025. https://www.snohetta.com/projects/under.
An underwater restaurant designed by Snøhetta, located off the coast of Norway. The project merges architecture and marine research, featuring a partially submerged concrete structure that integrates with its coastal environment. It highlights Snøhetta’s commitment to sustainability and biomimicry, as the building functions both as a dining space and an artificial reef. The site provides insight into the project's design, materiality, and ecological contributions.
Urban Design Case Study Archive. “High Line, New York.” Accessed February 22, 2025. https://udcsa.gsd.harvard.edu/projects/13.
This entry analyzes the High Line’s transformation from rail corridor to elevated park. It highlights community advocacy and phased design as keys to its success. The project demonstrates adaptive reuse’s capacity to blend ecology with urban connectivity. Its lessons inform strategies for repurposing post-industrial infrastructure as civic space.
Waldheim, Charles. “Notes Toward a History of Agrarian Urbanism.” Places Journal, November 4, 2010. https://placesjournal.org/article/history-of-agrarian-urbanism/.
Waldheim traces agriculture’s role in shaping cities from antiquity to industrialism. He critiques modernist zoning that severed urbanism from food systems. The essay advocates for reintegrating agrarian practices into contemporary design. Its historical analysis supports projects that merge urban renewal with ecological stewardship.
Wiens, Landon. “Point, Line, and Surface - Revitalizing the Intersitial Spaces of Detroit.” Architecture Project. The Design School: Arizona State University, 2024.
This project reimagines Detroit’s alleys and abandoned warehouses as connective tissue bridging urban farms and rail corridors. Its phased design approach emphasizes community collaboration and ecological repair.
———. “The Garden Lupe.” Architecture Project. The Design School: Arizona State University, 2022.
This adaptive shade structure proposed within this project for the Yaqui tribe integrates modular panels with agrarian rituals. Its design honors Indigenous origin stories while extending seasonal growing capacity. The project contrasts low-tech empathy with high-tech efficiency in cultural preservation. It demonstrates architecture’s capacity to sustain tradition through material innovation and spatial storytelling.
Academic Integrity Appendix
AI Usage Statement:
AI tools were used in this research to brainstorm ideas, explore theoretical frameworks, and refine research questions related to prophetic architecture, adaptive reuse, and cultural preservation. These tools suggested potential case studies, thematic connections, and interdisciplinary sources, which were critically evaluated, modified, and expanded through independent analysis, peer-reviewed research, and direct engagement with scholarly texts. All AI-generated content was rigorously verified against academic databases (ASU Library) and primary sources. Final arguments, insights, and creative concepts reflect original synthesis and intellectual ownership.