2/2: An understanding of Experiences and an Experience

First to understand the intended experience that is to be derived from the propose architectural intervention, there must be an understanding of experiences as they exist in the now, between perceiver and environment, as well as how they are represented within the context of the subject of the thesis. For this, we reference John Dewey in Art as Experience in which he discusses the experience in which is live continuously, sometimes unnoticed and experience as they exist under realization to be recognized as an experience (Dewey 37). The composition of driver and an environment that presents itself to be unchanging at least within the realm of what is immediately seen by the driver and that which is too far to be realized to be changing, can fall into the category of general experiences. In such case, "things are experienced but not in such a way that they are composed into an experience" (Dewey, 36). This general experience is anchored by repetitive visuals confined within edges that distance the personal interaction between driver and city and thus does not allow for an experience outside of general experiences to occur. Such an experience of experiences occurs through distraction and dispersion of which allows "the material experienced" to run "its course to fulfillment. (Dewey, 36)" John Dewey further clarifies by stating that "life is no uniform uninterrupted march or flow. It is a thing of histories, each with its own inception and movement toward its close, each having its own particular rhythmic movement; each with its own unrepeated quality pervading it throughout" (Dewey, 37).

Experience as it occurs infinitely within the physical transaction of "live creature and environing conditions," is not as much desired in this case as one that arises by means of extraneous interruptions (Dewey, 36). These interruptions will allow for moments of pause and place of rest in order that within movement, distinction is allowed to occur, further defining the quality of space within context of place. Furthermore, the interruptions helps to indicate that the fluidity of space constantly moving pass the onlooker is not representative of the character of place, that cities and homes are not, within the compass of one's own understanding, uniformly organized but rather fragmented by the cities character, historical relevance, and site specific experiences. There must be a point of interruption, in which the experiencing self recognizes these separation of characteristic within the city landscape. The articulation of the in articulated will inscribe a sense of distinction in place, of which will provoke the mind to see beyond the distance that separates the bodily being from the context of the city and in turn offer a sense of closure that otherwise remains fragmented by one's physical distance from the tangible environment that they transition through.