Category Archives: Uncategorized
- I’ve been working on producing 3 huge a0 size prints over the past few days. Thinking of printing it in A1. as A0 is a lil too massive.
- I will be producing 7 A1 for the Jury. ( 3 Images, The Universe Map, figure8, SomniaXYZG Map, Monster anatomical Drawings. )
- Been working over the weekend on Script. The script for 27 years of Lazarian Delights is FINALIZED . No more changes !
- The Narrator-Log Voice is recorded.
- From now on wards up to Friday, i need to stitch together the Log Voice and re-edit all the animation footage to fit into script timeline..
- I need to PRACTICE how to present before the film comes in. there’s a part in the script introduction i need to work on..
Working on the switch from the screen to the room, and back to the screen. It’s based around the Named View concept – House VI was designed only for a few privileged views and is inexistent otherwise. The film pauses on the image of the house and then we go to the room. For this to work I added a few quick ‘house as image’ spreads, which will first be flipped in the room, and then 2-3 others will be flipped on the screen, connecting to the rotating model which is the living proof that this is nothing but an image……. The images of the house are here there and everywhere BECAUSE THE DIAMOND MOTEL IS A DISPERSED GEOGRAPHY
I have been working in producing, editing etc. for preparing the presentation.
Amongst the things I worked one :
– Editing Cipherspace map that will be used for the last part of the video. This version is not the final one but close to. Will keep this grey/while texturing for now, it recalls better my models.
– A new sequence for my video as well. Not perfect but will rework on it, as well as two others video shown before that need shadows on them.
– working on the presentation, can hardly show it right now but I found the best reference ever. I did quite advanced researches to see if it is real of fake. And it is real. My project is happening next year in real life.
This title says it all : “UAE plans to drag an ICEBERG from Antarctica to provide drinking water for millions”
Players: Burroughs, Piranesi, (future) Drawing scholar.
ACT I: Exploding TimeAre We Shooting? – Cameras from Jackie next to Three Kings (quote from Jackie) CNN news report appears alongside a report from Live from Baghdad – Bush the younger next to him (either with us or the terrorists), Obama on drones, trump, Clinton, Hillary, Blare etc … appear gradually as tiles – some are SNL satire clips.
News coverage explodes events, making each recorded flake an avalanche – The First Gulf War lasted 800 hours – it generated over 20 000 hours of footage. What, when and where no longer adhere to a conventional perception of place.
As information in the form of imagery is constructed with exponentially increasing velocity, variety and volume, place becomes elusive – time is exploded. Is war happening? Is climate denial legitimate? Do facts or fictions even matter when both are as constructed as each other?
It boils down to belief – detached from fact and addicted to narrative delivery.The incubator Story! – Testimony – War, Film, Debunking – evian babies WMDs! Trump Lies! Truthiness Colbert – Info Wars – Talk shows From footage into the news room
Truth has always been highly overrated – representation and reproduction inherently taint –The Story prevails – footage becomes nourishment for the eye; innumerable fragments of the world woven into digestible stories – The screen is their narrative yarn, weaving the polymyths into a monomyth and served up as news.
ACT II: Events as Spectacle / Phantasmagoria
What chewing gum is for the mouth, are buildings for the body, and footage for the eye – always received in a state of distraction. The ceaseless stream of visual data becomes an aesthetic overlay (insert data how much we produce a day/year) – at least 3 years of a any 20 year-old’s life will have been spent staring at a screen – for leisure time alonethe goal, the tennis ball, the Arab spring, anchor man Book: War is beautiful! – Pieta versions of grief War is Everywhere (edit to mix and make it less about War) The stadium Billboards
The aesthetic of media is a dichotomy – a phantasmagoria versus the tedium of the hyper-normalised – the Spectacular is Beautiful the Boring is Ugly. The masses at spectator sports, concerts or revolutions are always staring at and through the screen – reality craving cinematic steroids.
Attention-management is no longer the advertiser’s realm (evian bottle and babies) but everyone’s – humanity has become the curator of it’s own appearance it’s past, present and future – All is surface – the very reading of life: a scroll of headline feeds. How fast and for how long can you look.Time – time metrics, analysis – SPEED- HEADLINE WORLD – Stream – SCROOOOOLL
The screen grants a mydas touch (phone and thumb) turning world into an image of sheer and utter spectacle.
Nesting of Spaces – flattening of the AediculaOut of the scroll over the desert
A war took place somewhereThe news room
Once upon a time something happened; brought to you liveThe Church
‘This will kill that” said Frollo to Quasimodo as he realises how the printing press would kill the cathedral (echoes as we move through the church – bells of Notre Dame in the background)Netflix Living Room
Screens watched within screens – spaces become nested – The screen has done away with volume – the world is pure surface. All else is boring.SPEED-THROUGH SPACES:
Inside and Outside collapse into the glassy plane, an undulating fold between exterior and interior. – we never touch, taste, smell the events on either side – we only see surface – and always from a distance.
ACT III: The Telescape – World of Surface
Ocular tele-hedonism at it’s utmost – We tele-battle, tele-learn, tele-travel, tele-fuck – the Telescape is becoming the only site – If architecture has been a representational interface, the Telescape becomes the absolute inter-space – be it a screen, virtual image or all-out augmentation, surface is the new creed; all else is a prop for displaying a polyhedral world without a z-axis.
Never has the world been seen in slower-motion, in more scrutinising detail, in higher definition – more space, more time more and more and more and more … It is oversaturated, eye-watering, honey-dripping beauty. Why would you ever want to leave?
The world is not your oyster – the Telescape is the oyster of your world.TELESCAPE FACTory of the World
Should have a mock up of the film by tomorrow (minus a couple of scenes that I’m still working on). By Friday hopefully there will be a draft version of pretty much everything…
In the meantime:
The memorial scene:
The UNSC ocean (refugee overlay):
Some frames from the clip towards the end of the film as we (think) we pull out of the superstructure into the city reflected on it’s exterior …
Here are some stills from the intro scene I am currently rendering out:
20th century fox search lights, the roaring Lion of Metro Goldwyn Myer …the BBC, ERT, InfoWars, SKY, ITV, CNN etc. appear on screens all over – these are universally (or at least on national levels) collectively read as INTRO footage – the intro to any STORY – the news supposedly serving up the FACT and the production companies constructing a FICTIONS – recognisable themes from these intros echoe in the seemingly infinite telescape.
We keep moving forwards deeper into the space while the camera subtly starts rising. Are we ever going to get out of the space? Is that a hole up right?
Oh it might be a way out? A dark opening in space …
For today, I prepared the argument for Manolis tutorial. It was pretty useful as it forces me to write down elements that were floating of forgotten – looking at all my project at once.
Interestingly enough, I realised my presentation follows the exact opposite sequence of my argument. The former first bring facts (sand market, caryatid etc.) and introduce progressively the notion of language, as well as cipher spaces. The latter does it the other way around :
In the meantime, I am working on my narrative and presentation. Right now, trying to compose a ‘folder’ that will be presented as my investigation of these cipher. The folder will contain different type of documents including :
– photographs (some will be my collages..)
– analysis (formal, material -> see. images below)
I am currently working on these, unfinished at this point but on the way :
I have been testing out the different colours, paper thicknesses, and layers of the drawings… Will show the Poped version tomorrow !
Uploading few new images. Most of them are still in the making, the london map where i will feature the long brick stack, waiting to be shipped. As discussed the other day, the long brick stack (#whichinfactisawallbuticantcallitawall) sit on a long site behind the crossness Pumping station (as perhaps a temporary barrier between residential area and the stinky industrial site).
The wood pile is taking me a lot of time to do, and now that i am looking at it after a few hours of work, i realise it needs a lot more work. However i think it’s important that the pile of materials are carefully arranged, somehow curated, as they are to be re-use, as in fact they are money in itself.
I didn’t have time yet to work on the Juliaca map, probably need to be my work for tomorrow as it needs some good work on it still.
Planning compile a new version of the book for tomorrow during the night, with the new images, texts,… > tumurruw
I don’t know how I ended up going down this rabbit hole (or may I say black hole!), but I was looking for “generic” music to add in the game.
I remembered that there was this song that you would always hear it playing in China, literally EVERYWHERE, in the underground, the shopping malls, hotel lounges and any other type of public space. After looking for a bit, I found it! It’s Kenny G!
I also found MUZAK, “a brand of background music played in retail stores and other venues.”
Im going to tone down the colours on this one more because i dont particularly like how it turned out.. the concept however, is there and i would like to print this drawing out for the presentation to emphasise on the condition of Dan’s world. I think there isn’t enough variety yet.. but im confident it’ll take shape as i work more on it.
These are drawings and moments i would like to add into my white book. I feel it’ll give the project an added architectural aspect, emphasising on the way in which we live inside today.
Manolis and I came to the conlusion that the major question that i am asking is “what does being inside mean today?”
I think it really sums up the project quite nicely and i am finding a way to tie it into my conclusion.
Dan will always live in room.
But through this, he can escape if only for a few moments into a world where he is no longer contained.
As Dan’s life carries on his world, he will always have the ability to find refuge in a world he has so carefully selected and customised.
Here, our rooms and its walls no longer contain us from one another. In fact, these virtual worlds have become extensions to our rooms as we journey in and out of them.
Here, you will find yourself in a world built for you and you only, catered for your very needs in every possible way.
This is what the interior is today.
Test of Sofia’s green-screen scene with the cranes.
Render time by adding footage, even if only in the screens that are in view, has skyrocketed as expected… I’m trying to solve the issue. in the meantime here’s a still of a clip with the screens active and the footage selected to make associations as we pan over it.Below is the model for the intro to the film with the camera panning over the seemingly infinite telescape – the footage I thought here could be of news channel opening titles, and of movie production company opening logos as we pan over and enter the media room for the war/post-truth Polyhedral Reality sequence.
Decided not to put myself in the animation…. Here’s a test of it. =/
An idea of the subtitle look..
Here’s a screengrab of all the footages shot on my expedition. I need to place those fragments into a routed journey taken on the 27 years. Looking back at my journal now to relive some of my memories. =)
Teaser to new opening of film —-> wipe of context from city to desert —-> once again thank you Maxime for a great reference
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.
The last few days have been interesting. Here is a summary of how this has been done.
First I started by scanning myself in with a Kinect sensor. With this, i was able to morph my profile with a stock head i found similar to mine.
I then rigged the face according to the blendshapes used in the motion capture software.
Then I started painting the textures of the skin – blemishes, tone, eyebrows etc..
My avatar was then rendered and combined with the recorded sound.
The introduction of my presentation will be presented through my avatar.
Here is a video of the motion capture in action! The text still needs refinement but i think im getting close to making this just right.
Here’s a work in progress of the large underpass scene. The people still need to be rotoscoped properly – some of them are pretty weird and ghostly at the moment. But should give an indication anyway…
Also, over the weekend I managed to record/shoot 90% of the stuff involving actors. Got to sort/edit/compose the sound and greenscreen stuff over the next few days. Will show some of the raw footage/recordings tomorrow.
For reference here is the updated construction site aerial from last week too.
I tried this weekend to push the production and create more and more spaces. Unfortunately I have not finished them all, but I have modeled a large part of it in rhino.This is the total view of the Bimland campus.
Also I finished the infrastructure set.
Recently, I simply tried few video composites regarding my glyphs in the desert. Also started to work on some work regarding the exploration of the glyph but will update later about it.
Still not perfect yet, but it is on the way …
(PS : I did not change the original sound – yes it is Emma screaming on the first one)
Here are the last images/drawing i produce over the weekend. Sorry for the random order, from top to bottom : ‘Join the March’ poster for Brickxit demonstration, Supertanker loaded with huge pile of bricks, Supertanker section, Tati in front of a brick pile, NY (starting), Maps of flow, flows, ‘small’ stock of brick, protected by the police (1),(2). Eventually the city of Juliaca (the file is huge, i took a screenshot, sorry for the bad quality) before and after being emptied (WIP, you can see the first spot of the buildings being wiped away)
A refined transition render for a specific part of the film. Clips to be inserted to replace static. I have drawn up an almsot compelte narrative sequence for what is to be shown and what renders I’ll need for each part of the film. We can discuss the sequence in detail tomorrow.
Been working on a library for the world. animation to come…
Here’s a scene of me underwater trying to catch ”Tricephaly Platycephalus Fuscus” from page 224 in the TS book. =)
Timelapse of last nights games! Quality is pretty bad, but the cards are still readable so I think its ok
Have been conducting some render tests on the Vatican-of-Screens model – Testing fluid dynamics and (unsuccessfully for now) tried to map a film onto the fluid. In the second clip the screens are placed between the ornaments and given footage as we pan out and over the surfaces.
…. Working on 2 new scene since the jury. A drone takeoff, and the levitation zone in Planet M01-M02. The plan over this weekend is to look into all the Drone and Handheld footage, rearrange all the fragments into a timeline and narrative. come up with a script in ”words” of the commentary of the journey for the final film. =)
“The impersonal nothing represented by the hotel manager here occupies the position of the unknown one in whose name the church congregation gathers. And whereas the congregation invokes the name and dedicates itself to the service in order to fulfill the relation, the people dispersed in the lobby accept their host’s incognito without question“.
Siegfried Kracauer, The Hotel Lobby
Working on the models for the scenes I’ve metioned yesterday.
Some points on yesterday:
- - I particularly liked the idea that the FACTory is granting the Screen a body : The Telescape is the screen given a body by surface.
- - The galleries (the Wallace Colelction and Saatchi exhibit I plan to frame within my telescape surfaces as an introdicution to the film)
- - MORE footage MORE clips appearing for shorter times – exploit the viewers positon as the one making asscoiation but keeping it short enough – 5 secs max each clip – to pevrent each micro narrative from taking over (thanks Nathan!)
- - Finally, the “Screen Vatican” to be way MORE COW BELL – explode it out of a room, bigger crowds and surface as an increasingly dominant medium in the urban context.
Here’s the animated version of the shot in the construction site with the conservationists’ landscape view.
And a description of the complete scene below. From here, the plan is to finalise the script/character text today – which I will post later/bring to tutorials tomorrow for final revisions. I am organising a recording session/shoot with actors for this saturday.
A construction site from above, empty but for a trail of people walking through. Where the people walk, the ground is covered in grass and dirt – as if they are not in a construction site at all, but rather somewhere deep in an untouched wilderness. The natural ground cover fades away into the bare concrete and dirt of a the construction site several meters away from the walkers.
Our group has been studying the landscape for decades and we see this place as it was in the pre-human times. We’re among the few who really value the past – it’s not something that Leviathan thinks about much. So we come to sites like this as they are empty of other people and their views and we have a chance to embed how we see onto the streets.
A group of walkers hike along a trail, it appears to be covered in natural rock and grass. A dense fog has settled over the landscape. In the distance, the silhouettes of cranes and unfinished towers looms.
From above, a lush green landscape winds its way between unfinished buildings – panels of glass reflecting the colours of the wilderness.
The Past Earth Group wants Leviathan to take our origins more seriously. We’re part of her after all and when we group together, our view becomes more obvious, more permanent – a space of clarity amongst Leviathan’s schizophrenia.
Working on stitching together the very rough outline of the film now. Some more scenes are going in – some will be animated, some not… I have the animated sequences set up for all these scenes below, but won’t have time for them all to be rendered by tomorrow.
For tomorrow the plan is to present the film as a previsualisation/animated draft. I’ll describe each scene with a mix of narrative, character dialogue and explanation as required to fill in the gaps where visuals aren’t yet ready.
The protestors who march through the city’s newly emerging districts overlay their world view of a pre-human landscape – solidifying an augmented view of Leviathan here. Buyers who move into this area will be greeted by the sight of this prehistoric landscape, interwoven at street level with the buildings; and it will take time for the influence of this group to wear off.
As Leviathan starts to forget about a recent obsession with a climate report concerning extreme desertification, the sand dunes that for several days filled the city, begin to blow away. (This is a timelapse – will be animated tomorrow).
Seen from a satellite view, over the course of a day districts of the city shift in colour, form and organisation. While Leviathan, as the aggregate of all culture’s dreams, fears, whims and aspirations, may seem chaotic, there is a definite and observable order in her rhythms. (This is also a timelapse – will be animated tomorrow). Like neurons flowing through a brain, we might think of ourselves as thoughts passing through Leviathan’s mind as we walk the city streets.
i’m in the process of finishing this transition so unfortunately no video just yet but the aim is transition out into the space of my screen in R0.
Reviving our great experience in Huacachina with this oasis.
above more of an atmospheric render test from cinema4d
ACT I: A condensed version of what I read as an intro in studio where we are moving from spaces inside the screen to set up the argument [exhibit, billboards and the War 20 000 hrs / 800hrs]
Part Narration / part screenplay description:
The Built envirnment is all Surface we zoom out to see the whole telescape (part of the image above but with activated screens)
The future of the architect is curator of the world – master story-teller.
In a hyper-mediated world public spaces are taken over by vast structures – Telescapes – An infrastructural framework that has no purpose other than powering architecture’s ultimate medium – surface.
The recorded world and it’s image fall-out are the material of the Information age feeding the surfaces of the Telescape. Space on either side of the gargantuan surfaces is irrelevant – a mere plinth for bodily existence to flow past – the surface is our only aesthetic nourishment – these aesthetics however defy every design convention in an age where time and scale are useless. The only rules are: the spectacle = beauty, the boring = ugly. From wars to cat videos, fact or fiction, the appeal of the visual content only matters in it’s delivery and it’s apparatus of display – the surface.
The volumes of the city lie in tedium – stacks of un-editable space, vessels of the population whose gaze is always beguiled by the Telescape.
Fluid Surface – conclusion reinforcing the argument
The spectators stare at the Telescape’s surfaces, twinkling stars of light glow amidst the gilded ornaments framing the spectacles. Clusters of people gather closer to where their reflections occupy a display. Few are physically there, awe-struck by the shear scale of it all– others experience it from home – they watch the surfaces from another surface. (the neflix living room expirience)
A girl walks up to the surface and reaches out, her hand suspended in space seemingly too far to actually reach the display – until the very air separating them ripples.
Skin, eyes, fabric, are slowly consumed by liquefied media – when the surface transcends the screen into an overly for just about every from.
Architecture no longer deals with volume – the outside is always shown on the inside and vice versa – The Telescape is fluid covering everything – interior is exterior is interior – all hail surface!
I found this website (link above), which I found it quite funny. The author’s comments after every render show how renders sometimes show absurd and weird moments.
For me, focusing on standardisation, it also shows the standard features of selling a project through a render. Perhaps it’s the legacy of Julius Shulman? Green rooftops, light transparent structures, bright spaces, etc. There is also a small selection of occupiers that seem to repeat themselves in different renders, as they are all found online.
The same idea was also conveyed by the work of Aaron Williamson who was part of yesterday’s lecture at the AA. He created the “Average Jo/e Modelling Agency”, where he tried to show the absurd standards of users portrayed in renders. According to him, there is always someone looking inside a shopping bag, someone on his phone, and people sitting together but not looking at each other. The two photos below are from his work.
Image in progress –
Motel bar scene in progress –
Working on this scene – animated version to come.
I read the report in the morning
and as soon as I stepped outside,
I knew that thousands of other
people had obviously read it as
well. My view showed sand
everywhere. It was like the
entire Sahara desert blew into
EXT. THE SANDY CITY – DAY
Flying over the city, the roads in between the buildings are covered in sand. Dunes roll between skyscrapers and over parks. Speckles of sand in the air sparkle in the sunlight.
SARA (V.O.) CONT’D
The data was apocalyptic –
extreme desertification within 50
years.Investment in renewables
doubled. The report was all
anyone could talk about –
Leviathan was obsessed for days.
When the panic resided and
Leviathan forgot about it, then
the dunes mostly disappeared, but
it still nags on my mind, and I
still see sand in my things.
WHAT // Surface World
WHY // The FACTory of memory/history in Telescapes – The eradication of space by surface
HOW // A film on the architecture of a surface universe
We are far beyond other mediums usurping architecture as the prime conveyor of information. Architectural form as a representation of memory has radically shifted. What we are moving towards is the flattening of space altogether.
We constantly curate and perceive our world on screens. Six and a half hours per day is the average screen-time of 5 to 16 year olds (3 whole years by the time one is 20) – tv, game consoles, mobiles, computers or tablets. The atlases of the world.
The spectacular nature of media is a condition that turns the images (be it of distant war, of a Trump/a Putin/or Kardashian) into an aesthetic overlay – a spectacle that we receive in state of distraction – how Walter Benjamin referred to the state in which the masses perceive architecture. Or how Frank Lloyd Wright described the television as chewing gum for the eyes.
The discussion surrounding the Telescape is not to fetishize technology, to be technophobic or to consider devices as visual gimmicks within architectural discourse. It is about the SITE of surface itself becoming an increasingly dominant place via which our perception of the world is conducted and where memory and knowledge are formulated today.
The factual origins of stories become irrelevant in the screen. The relativistic argument that often fascinates and drives conceptual projects on what is real or not is done. It was the matrix, it was the 90s. Today the exercise is one of omitting visual information and condensing the fragments into a curated narrative of surfaces.
The aesthetic nature of fact-creation in the Telescape relates back to a scene in Victor Hugo’s Hunchback of Notre Dame, where Frolo realises how ‘This will kill that” when he refers to the printing press killing the cathedral, as a mnemonic device. If we parallel this to the Telescape it is a case of surface killing volume – a world minus the z-axis.
I’m working on the film narrative structure and storyboard, the issue I am considering is how my rendition of a surface universe is to avoid my argument falling into something akin to the gimmicky add by LG below.
The future of Screens – 2020 Olympics in 8K
After having made the puzzle template of the narratives, inspired by the tree of codes, I’m working on 4 worlds on which the project sits in: World 1: Lisette and Sami’s normal life routine // World 2: the Cosmic Crime // World 3: The black hole world // World 4: The book and it’s library.
World 1 consists of the everyday places and activities : coffee shop, ponga jungle, lighthouse, bathroom, kitchen, bedroom , sea ..
One problem i came to realise recently is the fact that Dan’s World, his room and his neighbours lack one fundamental element – people.
I’ve spent the last few days creating and adding these figures to the rooms within my film, where they are programmed to perform a few tasks as the camera pans through the 5 rooms.
All are equipped with a VR headset, they are immersed in the worlds we will enter through the screen.
textures are temporary – I’m still in modelling stage and haven’t figured them out yet. It is probably going to be metallic and SHINY af. Also possibly smoggy and desaturated. Gardens are also almost done!
Just finished the 3D model of the mechanism and continuing with constructing the machine mechanism to rotate and raise ring #0 and #1. So far ok, but wood has warped, so new plywood must be cut. Hands full of grease and the mind could use some lubrication too..
Further ideas for the stage include a hidden layer in which a screen can be seen, on the screen is a live video of what can be seen on the other side of the model. The screen is at 1:100 transporting the people interacting on the other side into the model. Also now layer #2,#3 and #4 have to be lifted through cooperation of two viewers, they each have to rotate their respective crank at the same time in order to operate the machine. (sketches to follow)
I am continuing my work, according to the comments from last time’s tutorials.
Some progress …
I am continuously working on the map, adding more detail, more resolution, more recognisable elements – here is where I am at :
Also a first render on the larger cipher that appeared in the red Australian desert – (Edit : this one is better already) :
And other parts of the city can be found nearby :
Here are a sequence of new images. I will put some more later on, trying to work on the captions for now. There are all still in the making…
Dead body at the Tate
The tate Modern entrance on july 20 and july 21, 2021
The Evening Standard from page on july 21
2030, #therealDonaldTrump wall have finally come to end.
You say to a brick, ‘What do you want, brick?’ And brick says to you, ‘I like an arch.’ And you say to brick, ‘Look, I want one, too, but arches are expensive and I can use a concrete lintel.’ And then you say: ‘What do you think of that, brick?’ Brick says: ‘I like an arch.’
Here’s a test animation of the first of the UN scenes. Still got to add people for the final, but I’ll work on some other scenes first for the coming jury.
A big part of the jury’s feedback was to improve on the structure of presentation, the ”WORDS”, and the camera used in the animation sequence.
For the duration of term3 ( around 7 weeks ? ) , I’ll be focusing on :
- producing a new sets of POV camera animation to add in with the previous drone footages.
- ”Words” to describe the project . In paragraph or two.
- Scripting out in writing for presentation structure.
- Hopefully that physical model that in promised since term 1. =P
A test on the new POV camera.
For the format of the POV camera animation, I’ll stick to an aesthetic of an old super 8 film camera with the nice grain, film scratches and burn. Here’s two example of the Anton Tammi’s work with that beautiful grain, scratches and burn !
Nothing related but check this out!! a really well done 360 video on fragments of Tokyo city floating in the dark skies.
Rephrasing of project
My project is re-examining the landscape through identity.
The focus of the unit being the continuum, the project that I’m presenting to you is the continuum of a series of machines culminating in the ‘landscapes of the I’ The design is focussed around understanding space, in specific landscape, in a new way that is relevant to the contemporary context in which I argue landscape is not only bound to its geographical limits but perceived as an experience, transcending the material into the ephemeral and immaterial. I see our identity as being a continuum of landscapes, of sites. Each of our lives consists of many sites, mine exists at the AA, my flat in London, in The Netherlands, my commute over Waterloo bridge, on a holiday, in a way the site is a very disparate and disconnected landscape and yet it is connected through the continuum of my life. Our personal landscapes come into contact with identity other defining landscapes and start to collide and intermingle. My designed landscape is a multiplicity of sites taken from different people, essentially a collective landscape. The model that you see here is my current investigation of how to make these places spatially meet, interconnect and how they are displaced forming a space that is ever in flux. The apparatus of my project is landscape (the site) and the machine is the delivery of the it.
My designed machine reflects our identities as I see them, a string of landscapes merging and meeting with other(‘s) landscapes forming new spaces with each action.
Why I think this is of importance to architecture, is because how we see and understand our environment is how we shape it, our cities and our landscapes, and in turn our environment shapes us, thus becoming an ever changing portrait of the collective self.
Current: Ghost in the Shell and why it’s relevant
The following is an excerpted transcript from Ghost in The Shell: Identity in Space, a video essay by Nerdwriter. It’s a good analysis of the ideas behind the movie and and quite relevant to my topic of identity and space. For inspiration purposes:
[…] Since most bodies in this future world are at least partly artificial, people locate their identities in their ghosts or their minds, but with the troubling knowledge that these also can be hacked. Memory, identity and humanity are all called into question. “All your memories about your wife and daughter are false, They’re like a dream. Someone’s taken advantage of you.” So how can a meditation on space illuminate the problem and theme of identity in Ghost in the Shell? Well, maybe the first thing we should say is that spaces, like identities, are constructed. Though space often feels neutral or given, like we could move anywhere within it, our movements, our activities, our life, is always limited by the way space is produced. In most places, but especially in big cities that production is controlled, not by the people, but by gigantic moneyed interests, state governments or both. And the same is true for identity. Spaces and identities are constructed and not always by ourselves. […] Cyberpunk has always featured these uneasy composites of multiple cultures. These are not utopias, but they don’t have to be imagined as dystopias either. The philosopher Michel Foucault called spaces like this heterotopias, places that exist in a dynamic state of layered and changing meanings. Heterotopias don’t succumb to those forces that try to make everything the same. They are marginal spaces for the voiceless to construct identities for themselves.
I’m in the process of updating the city that Dan lives in. A generic and highly densed landscape of compartmentalised apartments. In the foreground, rapid construction is taking place, building more apartments in this new residential area. In the background, finished towers are being prepared for their first inhabitants to arrive.
I’ve added this into the context the apartment creating a much more focal point out of the window than what it was before. It would also be a nice contrast to what will be shown on the screens, where we’ll enter in R2.
I’ve also decided to change the time of the day from night to day. I think this could be more compelling in regard the culture and lifestyle of Dan and his fellow neighbours.
I’m now the process of creating a narrative structure that will guide the levels of R1, R2 and possibly R3 much more effectively.
Below is a test video i rendered quite quickly to see the new background and how it works with the rooms i am panning through.
I’ve been mainly working on polishing/resizing the book in A2 square format (more like 40 cmx40cm) . I finally got hold of the book the tree of codes again , I will be carving out all of my 16 designed narratives for the book following a similar strategy.
I am also working on a final pop city of Lisette’s world that will have the same format 40×40 cm square( as the laser-cutting template is 800mmx450mm). A world without transportation where there are no streets, no stairs, no roads… it only has different rooms, landscapes, and places that emphasise on the unexpected jumps …
The aim for this piece is to be a tool that enacts the world that I am talking about rather then a representation of it. Similarly to how you can construct multiple stories in my book, the pop will aim to unfold in different directions and collapse around itself.
Another test (low quality) of the scene with the building site being occupied by ‘historical activists’ who see the world as it was before human intervention. The colours aren’t really working yet… I think it needs to prioritise the landscape view more – so I might try taking the red out of the cranes and adding more reflection/glass. Hopefully will look more real as I continue to build on the textures.
Also working on the 3D model for the scenes in the UN – been modelling and texturing the UNSC chamber – need to add the augmented environments now.
After last Friday’s tutorial I decided to add four new suits to the cards set, so that the players will be able to decide which ones to use at the beginning of the game. The new suits will be Gardens, Infrastructures, Interiors and Informal settlements. The new suits will also be helpful to start introducing the research on drawing methods and their symbolic meaning, which I started doing last week and I’m continuing now.
Gardens and artificial landscapes will be in a gradient from formal compositions to more natural ones. It will start as a completely abstract bi-dimensional geometrical pattern, which will gradually transform into a three dimensional drawing. The main switches in the construction of the drawing will be from 2d pattern in plan, to 3d pattern in axo, to a perspectival vista when the landscape transforms itself into a more natural setting.
Medium: Hand drawing
I’m thinking of drawing a suit based on infrastructures, which will probably be represented into an axonometric format and have some kind of ‘technical’ look. The infrastructures will go from the scale of a microchip all the way to dams and power plants.
Medium: CAD drawing or maybe 3chrome drawing Chernikov-style
This suit will be the only one set completely into interior spaces. It will have a gradient mainly based on scale, starting from a single room and going up to the scale of a movie set/amazon warehouse. I’m imagining this suit as a series of interlocking perspectives rather than axonometric, which will help me introduce the perspective vs axo theme that I have been researching in the past few days.
Medium: Photoshop Collage
For this suit I was thinking of rearranging the composition of the camp miniature that I did in term 2, in order to fit it into a card suit format. This suit will be particular because of the density of human figures, which are pretty much absent from all the other sets. I’m seeing this suit as a Where’s Wally type illustration.
Medium: Hand drawing.
For tomorrow we can discuss the progress on the model together with the new script I’m writing for the next version of the film [to post later]
Some references to start bringing into the wider argument of fact/fiction, surface and nested screens:
The bizarre world of Netflix VR and the nesting of virtual screens within screens.
They Live (1988) which I mentioned before where the main character can ‘read’ the truth behind the media/advertisements we are exposed to – clip below:
Here is a film, realised by Ramin Bahrani in 2009 called Plastic Bag, where a plastic is embodied as living being and filmed throughout his life. Werner Herzog’s voice accompanies the narration.
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Narrating the rubble bonanza seems now, for me, the most crucial thing i have to define in order to fully deliver my project. Until now, it has mainly been presented under an infrastructural and economical lens – which it is, but the idea of economy have to be seen i think throughout the narrative without being explicitly mention.
The other crucial thing the project have to deliver is the reflexion that i have undertake for quite some time now on the paradoxe aesthetic-function of rubble/waste. A paradoxe between objects that have already thoroughly been aestheticised [almost to the limit of fetishism] (detroit ruins, greek unfinished construction,…) and the general idea that waste only exist nowadays under the spectrum of recycling [disposal and transformation into powder]
What the project does is to speculate on the use (as ‘usage’) of rubble outside the traditional recycling cycle. It speculates that a radical change in the economic market could give an impetus for a reverse or a disruption of this cycle.
Economy needs to be the plinth for rubble to exist both outside an aesthetic fetishism and useless unfunctionnal object.
I started to imagine the story of a brick [or its travel during a certain period of time] that would happen because of an important economic change :
 : Image of demonstration. Hundreds and hundreds of people, carrying European flag, big images of important buildings, images of their house printed on cardboard,.. some of them are holding bricks, pieces of stone, pipes… with banners saying : ‘we want our bricks back’, ‘ After Brexit, now Brickxit’, …
[2021, 21 july] : A picture of the front facade of the Tate modern
[2021, 22 july] : Picture of the same point of view, on the first page of a national newspaper, with a huge hole in the facade. The title talk about an important robbery of bricks last night at the Tate. The first line of the Editorial on the right goes : Now they’re attacking the culture,…
[?] : On a CCTV stills, somewhere in the city, at night, two person are exchanging what seems to be a brick. A brick for money.
 : A brick sits on a chimney in what seems to be a very bourgeois house. The image is a sort of still shot, the chimney is seen in a frontal view. The brick is next to a small frame with a family picture and on the right what seems to be a small gold sculpture. A huge painting in a golden frame sit above the black marble chimney.
 : Tryptic. We have a close-up of a brick that sits among other bricks, rubble, waste. A zoom out reveals that we actually are in what seems to be an important landfill. The last zoom out reveals that we were on a boat – a supertanker, at sea.
[?] : A world map on a computer shows the trajectory of a dozen of supertankers in the international water.
 : Official instagram account of the white house. A picture with a supertanker near a port. The caption “The USA have sign today an agreement with [boat company] in order to buy the total capacity of their next 6 supertanker in order to finish the construction of the wall on the mexican border by 2030. #DonaldTrump”
 : A wall in a desert, looked like an elevation. A super long structure crossing the picture and the landscape. A few white banners, one of them saying : “Fuck the wall, give our money back”
 : People destroying a wall
 : 3 bricks, old and grey sit on a plinth at the center of a exhibition room. A picture of the tate modern behind it, hang on the wall. Someone reading the booklet of the exhibition titles : ‘The show must go home’
I am continuing with my work on the video game. This is introductory scene.
The character/architect starts in his garden shed office. He leaves and starts wondering in the city around him. In the next scene, we introduce the suburbs. Here, we talk about standardization in the form of arraying. What is considered “special” is becoming a standard. The idea of house ownership, of building one’s own castle, creates suburbia.
EDIT : Big oops, just saw Nathan mentioned it in his post last week … sorry about the doublon. This is still a good reference for me, for the reason mentioned below.
Currently, I keep working on my video (more on finishing the story board and doing the script so I will update another time) as well as the map for all my ciphers.
I found this fantastic reference recently that I will take inspiration from to do this map. It is similar in some aspects to the Million Dollar website that Natasha mentioned to me back in term 2.
The 1st of April, a social experiment started on reddit, a new subreddit called r/place. The rule was simple – a square space was given to all redditors (name given to people having an account on reddit), and each of them could add only one pixel per 5 minutes. What started as potential disaster became as real anarchist success. The following image sum up the evolution of the project :
Also, an atlas was made to keep this final map, with annotations added by the community that explain each single icons (glyph/emoji ?), most of them being part of pop/internet culture.
One particular idea I like (apart from the incredibly symbolic moment between France and Germany), is the “Rainbow road”. It embodies the connection between these icons that transcends the boundary given by the icon itself. I would reuse the same strategy on my ciphers too. It is another way to make ciphers interact together.
So I started to work on my “atlas”, although I want to have both plan and axonometric view as it is not only “2d pixels”. It is still in progress but I tried first in black, as mysterious cipher that we can hardly distinguish from one another. In that case I could use a similar technique as the previous atlas to highlight a cipher with location, material etc.
Then I tried with colours, using the same color palette as the illustrations I made for my thesis :
The idea behind the use of colours is to highlight different moments in the making of these ciphers. Many individuals collaborating via internet, like a website, by adding an extra shape here and there, using the alphabet of space I once did in the very beginning.
I plan on doing a line drawing of the final map later on too. More Campo Marzio looking.
Fundamentally the principle is : the cipher spread around the world, but relates to this strange website where they appears to be conceive.
Particularly happy to receive comments and ideas on these, references, aesthetic…, I have been looking at Paolozzi so far but maybe something else ?