Primitive House is an exploration of form and perception, a structure caught between simplicity and distortion. It begins with the fusion of basic geometric elements—squares, triangles, cylinders—shapes that recall the earliest stages of spatial recognition, like a child grasping at form through play. Yet, in its assembly, these elements misalign, resist resolution, and reconcile into a structure that is both expressive and geometrically ambiguous. It is an attempt to recreate the sense of the unknown, the moment of hesitation when trying to fit a square peg into a round hole.

The house gestures toward an archetype, a form so familiar that it seems like a memory—gable roof, red door, an image distilled into something as simple as a child’s drawing of a home. But as one moves around it, that familiarity begins to unravel. The forms shift, distort, and misregister with themselves. The red door is there, but it is not where you expect. The roof folds, the volumes pull apart and reconnect. The house is in a state of becoming—an object that resists absolute recognition.

This ambiguity extends into the experience of inhabitation. The spaces refuse singular definitions, shifting between enclosure and openness, between play and function. Moving through the house feels like stepping into an architectural puzzle, a series of moments where expectation and reality diverge. The house is familiar yet unknowable, both an echo of a remembered form and a challenge to its legibility.

Primitive House does not attempt to resolve its contradictions. Instead, it embraces them, allowing the architecture to exist in a state of flux. It is a house that is both known and unknown, a structure that lingers in the space between recognition and reinterpretation.