Today, nomadic tendencies are returning, we are being sucked deeper into the confines of our technology, and we are looking for what it is like to reconcile with nature. The tiny home culture is one that has begun to blend itself with all of these traits into one largely connected yet distant state of mind. That is both true to itself yet hides its fiction behind its technological veil
This specific tiny home is less about a problem of optimization in an age of complete technological control, but is focused on walking the line between nature and society. In simple terms, the societal shift towards the natural. Meaning, as Latour puts it above, we are attempting to mix these distinct halves though we know it will not happen. The condition of us faking our natural connection as well as our social one, has begun to influence our world and our cultures. The use of social media to show our immersion into nature or society but only to impress those who are distant and incapable of deciphering the truth versus the fiction.
The entities driving the design language began with the hearth. The stove, oven, and main heating system is that of a central unit that expands into space using radient heating. Each of the main systems of the structure have their own identity and fit together in a tight unison. The result is a complex and intricate unit that is seen as the true identity of the house.
The true house is the barebones systems wrapped together to create a tight and efficient system synonomous to the human body. The interior has rough and utilitarian beauty fused with some artistic hybrid qualities. These are then wrapped in a contextual facade that takes on the literal definition of a false identity of the human condition on the exterior.
Accessing the true house is to inhabit the interior. The exterior serves as a virtual projection of the surroundings fused with the inhabitants themselves. Thus the architecture begins and remains essential on the interior but gives a false sense of contextualization on the exterior.