In this thesis, I explore my fascination with the pictoriality of materials and the spatial vacuums formed as a result of their presence. The location that embodies this fascination is a dismissed industrial site with a rich history of a touching political discourse. By some, it is described as a national monument that represents the end of the socialist realism era in the Czech Republic. During its peak, the industry served Ostrava, the city in which it is located, as the metallurgy producer to the whole region. As for now, it simply remains that carefully constructed narrative and patiently awaits to be experienced for what it truly brings as a built space nowadays.

The topic was constantly moving forward as design research by using different techniques to represent what can be observed, what is in-between, and what is underneath things. It is also a sequence of drawings that work together to investigate space in ways the author initially would not expect. Uncovering new ways to bring things together.

Materials and spatial vacuums work together in different sizes and ways, as felt necessary during the time of production. The photographs were the database of that production and, as coined in this thesis, the “artefacts” that initiated each investigation. In many ways, the chosen format can also be described ironically as an industrial format, where limits are present and that what is beyond the frame of the drawing is unseen.

There are five discourse topics: the discourse in observations, discourse in foreground, middleground, and background, discourse in materiality, discourse in deconstruction, and discourse in vacuums. The methods by which vacuums have been developed enhance the relationships between things. It is a laboratory of various mediums that delivers new information after every experiment. Every drawing and collage learns from each other. New ones are from the past, and the past ones redefine their meaning from the present.

At the end of this research, I speak about the discourse of spatial vacuums underneath and between things. This is the investigation of what I found in the previous discourses. I amplify the techniques used and emphasize the meaning of the vacuums. They are spaces derived from matter but still contain something. Since there is no point in outlining emptiness and simply letting it go, I give it meaning through media that best represents it in architecture. The manipulation of these spaces created new things and developed a personal narrative throughout the document as a form of archaeological discourse of a post-industrial site.The result I reach at the end is a culmination of a visual narrative of progression. 

The result I reach at the end is a culmination of a visual narrative of progression. The techniques and my fascination with things gradually evolved in my work. The subject matter is spatial vacuums which can be interpreted differently from different pinpoints. This is one of the endless discourses in working with abandoned built environments. They are full of vacuums due to their lost history. It is about giving new meaning to these subjects, filling in the vacuum left behind by a bygone era and giving it a monumental stature for the people to keep questioning and admiring.

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