Clean Room with a view
The City Within
Welcome to the jungle, needs a lot more work but it’s a start!
Currently modelling the jungle scene, need to add A LOT more human and architectural junk.
DIPLLAMA IS BACK
I wish we were still in peru having tiny ice creams (crying emoji face)
Here is a tiny concept model as a test for maybe doing a pinhole model of the spaces within the building, using a door peephole stretches and distorts the space to make it look a lot longer than it is which could be interesting.
The take away from previews was that I have a lot of images but the conceptual framing of the project is lacking to say the least, so therefore I have been and we be mainly focussing on how to present and frame the project and then making work as needed to illustrate the concept.
The project either needs to be a con-temporised version of THE ARK and the presentation needs to sit within the historical continuum of the concept of the ark as it has been addressed by artists and architects and pay reference to those people.
OR the project is an Ark but the presentation is a narrative that reveals the purpose and spatial qualities of environment created and what that means for inhabitants.
Therefore I have been having a go at writing the presentation in these two formats.
Writing the presentation, most of the images are printed, thanks to Nicholas and his plotter!
Following tutorial last Tuesday, the plan for tables is to create a beautiful chunk model of the scheme to show a more spatial 3d quality of the project.
I am planning to laser cut the beams tomorrow to get an idea of how big the chunk needs to be and then decide the materiality of the rest of the model.
After Friday’s tutorial I am starting to present the project through it’s interiors, and trying to introduce a question of scale as well as locus, or lack thereof, to speak about the context of the rooms/spaces and where they may lie in this vast structure.
To question scale, domesticity and the inherently urban condition that is forming a new interior city within or on top of the old city, there needs to be some level of recognition within the spaces, some relics to preserve familiarity of place. As well as some sort of connecting vista or element that extends throughout the imagery.
So in this case, the world outside is erased by smog and therefore the window as an apparatus to look out becomes obsolete, here we re-claim the window and re-contextualise it as an inward viewport, a connector of interior spaces alluding to that which extends beyond the confines of each room.
I have allotted a scale to the building for the purpose of my TS investigation into the fragment, here it is, shown with the Eiffel Tower for scale. I think this is about right for the monumental size of building I am proposing, at this scale it overtakes the Boeing Everett Factory as the building with the largest volume.
Volume = Height x Width x Depth
480 x 240 x 240 = 27,648,000 m3
Over double the Boeing Factory volume which is 13,365,552 m3
Table of Contents
Chapter 1 - Introduction and Manifesto
1.1 Project Manifesto
1.2 Technical Design proposal
Chapter 2 - Case Studies
2.1 Gigantic Structures
Largest by Volume – Boeing Everett Factory
Largest by Weight – Parliament, Bucharest
Largest speculative building – Tower of Babel
2.2 Tall Structures
Tallest Building – Burj Khalifa
Tallest monolithic structures
2.4 Building Gigantic Structures
2.3 Sealed Environments
Chapter 3 - Outside Environment – Smog
3.1 Earth’s Atmosphere – Introduction
Composition of Air and Smog
Danger Levels, Smog and Health
Global Pollution Levels
3.2 Visibility and Distance
Chapter 4 - The Form
4.1 Creating a completely interior space – Introduction
4.2 Horizontal versus Vertical
Plan configuration and Spatial Qualities
Overall Form and Air movement
Wind Loading – Behaviour in response to natural forces
Wind Loading – Tests and Observations
4.3 Creating Interiority – Concept and Design
From Exterior to Interior
Levels of cleanliness
Atmospheric qualities of the interiors
Chapter 5 - Materials
5.1 Material Distribution
Material differences with layers
Structure and components
5.2 Material PropertiesChemical qualities
Facade surface articulation
5.3 Sources of Materials
Sources of Stone
Sources of concrete
Sources of graphene
Sources of carbon nanotubes etc
5.4 Research and Calculations
5.5 Material Weathering
Weather conditions of outside environment (site?)
Chapter 6 - Sealing
6.1 Creating a controlled, sealed environment
Chapter 7 - Filtering and Ventilation
7.1 Filtering the Air
Chamber Vacuum system
Chapter 8 - Powering the interior
8.1 Solar Energy
8.2 Wind Energy
Chapter 9 - Structural Realities and Details
9.1 Wall Build Up
Intercepting the city
Incorporating Mechanic Elements
Chapter 10 - Scheduling and Build Time
10.1 Visual Job Schedule and Time Frame
Frame and Facade
Plant and Mechanics
Chapter 11 - Model Catalogue
11.1 Model 1
11.2 Model 2
Having some pretty serious render drama, so only posting screen shots for now. Hopefully will be able to resolve it before tomorrow!
I would like the project to take the form of a gigantic colossus, never comprehended in it’s entirety as we only see if from the interior. I think imagining the project as this giant alien de-contextualised object may provide some much needed intrigue. The colossus appropriates the city below it as the foundations for it’s new interior world.
Ive been looking into ways to increase surface area for pollutant absorption, these are some test models forming different geometries that randomise and maximise surface area.
The existing interiors of the city play host to the new sky high armature.
New interior at the beginning of the timeline of the narrative, smog peeping through the windows.
Views of the only panoramic vista left, landscape has become smogscape. The layer of smog has taken on an oceanic quality as it submerges the city below, towers tall enough to break the plane float placeless like boats on water.
Question, what do people think, do you like the versions with or without the big arched wall?
I’m thinking of re-visiting the notion of reclaiming the interior of the city and creating a continuous interior hollowed out as interconnected fragments.
References for thinking about the continuos interior, creating climates and vast-ness indoors.
Phillipe Rahm –
“There’s a kind of misunderstanding of what architecture is,” Rahm says. “It’s not to design solid shape and form, it’s to design climate.” Rahm creates spaces, parks and buildings that act as kind of an amusement park of climatic zones his work has been described as meteorological architecture.
“Might not climate be a new architectural language, a language for architecture rethought with meteorology in mind? Might it be possible to imagine climatic phenomena such as convection, conduction or evaporation for example as new tools for architectural composition? Could vapour, heat or light become the new bricks of contemporary construction?”
Bringing these ideas into the idea of the continuous interior is interesting, to create manipulable environments that mirror what the outside once was creating vastness in the interior.
James Turrell – using light to define or flatten space, interesting techniques to make the interiors look kind of ‘other’.
Olafur Eliasson – the weather project, the presence of a faux sun creates an atmosphere were users lie down and ‘bask’ in the light.
Theo Angelopoulos, Landscape in the Mist, 1988 and Ulysses Gaze 1995
Also the killer mist film
everyone hiding in the interior from the mist, although on further googling, the mist has some crazy monster with tentacles living in it, snatching people.
Setting up some interior renders, I am having trouble with my renderer though so no images until I manage to sort the problem.
What happens when the smog is no longer an outside condition, when it breeches the inside.
Apparatus for the project, the smog.
Smog has physical properties; to erase, obscure, disguise and envelop. It begins to spatialise and solidify light and negotiate the boundary between the built and the ephemeral, expanding the horizon line into a band.
Chromatic smog. Looking at smog in different areas of the world and at different times of day the smog frames, sections and obscures the city in different hues and opacities.
Dependant on our proximity to smog our understanding of inside and outside is inverted and dissolved. The smog enters our space and undermines the locus of protection, security and certainty that the architectural convention provides. In degrees of closeness we, the inhabitant of this terrain, are either the onlooker to this partially obscured and veiled landscape or as we get closer we are the figure that is surrounded and completely immersed in an endless ground that is completely other from the topography it resides upon.
The smog not only situates the project and establishes the ground condition but also provides a mid-ground veil that overwrites place.
After the Jury
After watching the episode of the crown , with the smog covered city seen through the windows.
Its interestign how the smog/fog acts as an eraser. Also that air, something we can’t usually spatialise or touch or even see properly has this quality of solidifying into something that obscures and disrupts. The production of this is due to concentrations.
I can’t find the mountain flattening to relieve pollution in China, :(.
A history of the world in 10 1/2 chapters
Ed’s reference: the book is sorted into 10 1/2 chapters telling different but at some points inter-related stories both fictional and historical. The use of the historical ‘real-world’ accounts dispersed amongst the fictions somehow legitimises the story with the real world, like Francis Bacon’s New Atlantis where he uses real letter correspondence in part one of his book. The woodworm, a stowaway in the ark (as worms were seen as lower creatures and not to be saved from the flood) provides an alternative account of Noah’s Ark from a worm’s point of view. The woodworm appears throughout as the narrator of decay of knowledge and historical understanding.
At this point beginning the TS document I have done some initial studies on the diamonds, researching and analysing them to become part of the technical design. So far for TS I am exploring the concept of the space elevator but now with a move further into the smog, I think it would maybe be useful to tackle air filtration, air movement and defining space to manipulate air flow and pollution dissipation. Also look into distance and loss of definition when parts per million increase and decrease.
Also SMOG FREE TOWER and SMOG FREE RING (42% of smog is carbon, when compressed it becomes diamond, so it’s basically a pre-diamond ring)
The project is about the (staging of?) the continuous interior.
Our contemporary condition is one of interiority, not only physically but socially. The relationship between the domains conceived as inside and outside have shifted immensely and the difference between these domains is becoming progressively less distinct.
Nowadays we spend more time indoors than at any time in the past, this move to the interior is largely due to technological shifts that have allowed us to connect to more of the exterior world from our houses. But is as well due to our apparent lack of tolerance for shifts in weather and outdoor environment that are pushing us further into controlled spaces that can be manipulated and interacted with at will.
Collective conditional modern situation
As a product of modernisation, globalisation and urbanisation the modern world has grown together into a collective condition where there is no outside. We are constantly in an ambiguously un-natural, staged environment, even when we are out doors. Nature as a singular, untampered space ceases to exist without some level of imposed artifice. ‘The modern understanding of inside and outside has been replaced by degrees of intensities, hybridity and artifice.’
The project initially explains the collective condition that sets up moving people to an ark. Crisis.
The contemporary climactic issues
As a product of the support of modern living climate change and pollution in the present day are a pressing concern. With the atmosphere around the earth being destroyed and weather events becoming more extreme, more and more people are being threatened by the air we breathe as it is filled with increasing amounts of pollutants. It is not inconceivable that in the future the earth’s atmosphere will no longer be safe for us to inhabit.
fictional future situation
So the question now becomes, what if we are forced into the interior? And how would that change an already interiorised society?
In this version of the future our condition of interiority is not a product of societal control, comfort and choice, but a necessity, we are forced indoors and the interior that we once inhabited by choice becomes the only landscape we can inhabit.
The proposal at this point becomes a collective surge to create a completely interior environment in it’s most simple terms, sealed, internal and protected from the air. In this post-troposphere world, toxic dust storms swell over what was the earth’s surface and humanity moves up.
Give it a site
We begin somewhere along the equator where the construction of this continuous interior begins.
Introduce the object
The air pollution is set to rise steadily over the next 150 years, the edge of the city becomes ground zero for the ark. Coined as an artefact of refuge and salvation, construction on the enclosed tower/ark/obelisk begins. Rising high above the city smog phase one, the base of the tower hovers over the urban sprawl awaiting addition of layers.
Introduce the ground condition in relation to the thesis
As air quality decreases more and more citizens leave the city and begin to enter the tower, in doing so the contexts left behind fall to ruin, the tower reaches upward gaining momentum from the fallen cities at it’s base, up-cycling their crumbling raw materials to feed its growth.
Get a bit destructive and desolate and wistful
The ark hovers above the city, continually sprouting new interior sectors as more people partake in the exodus, escaping the remnants of society below.
Loss or merge of the relationship between interior and exterior
The city contexts below are infolded and re-contextualised in the ark.
Following the constant re-contextualisation and bastardising of the obelisk by western Europe, humanity’s vessel of exodus is the ultimate appropriation of cultures, times and spaces and so is named the ‘space obelisk’.
Filled with landscapes real and forgotten the ark follows the interior condition that contemporary society and modernization built. Climate controlled and sealed as an environment, the ark is the last vestige of hope for clean air.
The internal environments created in the obelisk follow real and imagined spaces sequentially revealed as we ascend. The obelisk becomes the testing ground for sealed interior living, a biosphere 3.0 project on a global level, the forced intimacy and utter co-existence is a conditional side effect of the architectural limits of the obelisk, there is no ‘away’ no ‘over there’ everything manages to stand close in this vast landscape of the interior, but between ‘right there’ and ‘over there’ exists architecture. The arc-obelisk-tower is the mediator, the all important envelope, providing the framework for a universal interior space, combining an archipelago of microclimatised microcosms, no longer interrupted and abridged by the edge moments that we encounter in the transit portions of our everyday lives. Architecture lies in the gap between inside and outside, obscuring the ‘away’ areas, the polluted spaces of infrastructure in the form of the ark, synergising the already blurred interior-exterior modern condition.
Merging or forcing into a controlled environment forming a universal space (get spiel from notes) could become the very place to question and explore the continuous interior and how we occupy it today
The obelisk infolds, maps and imagines interiors in its bulk, it enclaves de-contextualises and re-contextualises spaces, narratives and landscapes producing a cacophony of interior worlds.
Narratives and contexts are re-contextualised and de-contextualised within the space, formed out of the shifting interior condition.
The obelisk becomes a framework for (how we occupy the interior) interior occupation at the different scales of the tower, the room, the object and finally the dynamic occupant, the user.
There is an inversion of the convention of the interior as the controlled environment and the exterior as a framed spectacle, these conditions of control and spectacle become fluid through framing and section/staging. Here the interior spaces are framed as spectacle, through portals read as scenes or vignettes they reveal a completely other narrative than expected. The controlled environment here lends itself to the framed spectacle rather than acting as it’s antithesis.
After Wes anderson, this interior world questions the constructed interior and framed (un-natural) view, the spaces have scalable domestic qualities but the composition and colour wheel creates a visual continuity and level of intrigue for the onlooker.
So does the arc become the ultimate stage set for interior experimentation, a theatre within, an endless landscape completely enclosed but completely controlled? Maybe humanity’s move to the obelisk will allow the earth to heal, regain some semblance of unadulterated nature and in the future be repopulated? Does it become a kitsch casino with gross representations of our famous landscapes?
Outside the walls of the arc the land lies scarred, cities falling to ruin as the last residents make their pilgrimage to the equator and the obelisk. What began as a vessel of salvation and a refuge from a toxic earth is now a capsule of iconic interiors. Just as Piranesi, Karl Friedrich Schinkel and Kircher used fragment mastery to redefine place and space, the continuous interior becomes a new terrain cataloguing different time, context and narrative strata along it’s height.
At this point the project is concerned with the infrastructure of the obelisk, speculations as to its interior content and contexts are to come. Does the obelisk succeed in siring humanity and saving us all from the toxic smog, or does it become another fallen monument and museum to lost context.
Is it made in pieces, being formed by equator cities, by the rubble that is building up in the abandoned areas? Does it then all travel to one place to be assembled and erected like the obelisk and like a totem pole.
Narrative ‘let me tell you about my obelisk/ark’
Nowadays we spend more time indoors than at any time in the past, this move to the interior is largely due to the technological shifts which have allowed us to access more and connect to more of the exterior world from our houses. A part of this move indoors is also due to our apparent lack of tolerance for the shifts in weather and outdoor environment, climate change pushing us further into temperature controlled environments that can be manipulated at our will.
The question/project now becomes, what if we were forced into the interior. Climate change and pollution in the present day are a pressing concern. It is not completely inconceivable that in the future the earth’s atmosphere will no longer be safe for us to inhabit.
In this version of the future our condition of interiority is not one of comfort and choice, but a necessity, we are forced indoors and the interior that we once inhabited by choice becomes the only landscape we can inhabit.
In this post-flood, post-troposphere world unabridged by land mass, water is king, storms swell and tempestuously brew over what was the earth’s surface and humanity is forced up.
Taking Francis Bacon’s New Atlantis as the Bible of this world we begin to construct a new landscape, building on the contemporary condition of the continuous interior fuelled by the research of Kircher and the scientific discoveries of today.
This new landscape will take the form of an endless column. Extending up from earth, an obelisk to the sky.
More to come soon…
Playing with some renders for the continuous interior and the sections that disrupt it in modern cities, fragmenting the continuity. The bridge and tunnel act as portals to bypass the section allowing the interior to continue.
I came across this website called Nightmare Machine, its a website set up by MIT using “state-of-the-art deep learning algorithms to learn how haunted houses, or toxic cities look. Then, we apply the learnt style to famous landmarks and present you: AI-powered horror all over the world!”
It also has a section called haunted faces where you can ‘help the algorithm learn’ by being shown a sequence of faces and clicking whether or not you find them scary.
Can machines learn to scare us?
Nathan, is Le going to learn to scare you? SPOOOOOOOKKYYYYYY
Click image for gif.
Expanding on the notion of the endless interior, the single point infinitely looped, space fragmenting and being re-connected, the separation of the parts cycle back to reform the whole.
Utopian visions, mythical narratives and maps, mythical maps, the edge condition, the cut and the section, arrival, admittance, entry, thresholds, transition, transformation, frame narratives, enclaved spaces, islands within islands, city within the city, objects within objects, a question of place, enclosure and reveal. Interior vs exterior.
After Friday’s tutorial I have started looking at objects of intrigue and the idea of the ‘elephant in the room’ as a MacGuffiny construct and as an empty shell within which multiple narratives can be embedded. The elephant-plinth-obelisk itself combines several cultures and times into one object and through the sectional cut other displaced totems from the diamonds are revealed.
Click on Images to play GIFs
Following Maxime’s comment on Tuesday about items of Intrigue, I have begun to look at revealing objects and collapsed space.