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Figuring things out (2)

Here is some of the image i have done – i am making, over the weekend. The first three are meant to represent the excess, or the kind of presence of the accumulation of rubble, in urban context mainly. I thought it was relevant/funny not to use a singular visual identity but to use and disrupt different images, from the B&W NY arty photography, to the hyper-real real-estate image, to the tumblr-like bed window view.

I am also setting the things further in order for OFFW to become real. For those who havent seen it, OFFW is the Other Future Foundation for Waste (OFF_Waste) that operates at a more economic/political level, which I want to be a relevant and more realistic parallel project to constantly feed the different scenarios i am working on. OFFW is also a website (from today) : [there is nothing in it yet]

It also has an email address :

OFFW will also be supporting the ballon scenario (see last image) where, if you dont buy waste for yourself, you can send it to an unknown person via balloon.



So now, i am making images for my scenarios, figuring out how to do a first version of the website, updating the book, and trying to figure out, in an accurate way how much balloon i would need to send different waste somewhere…

More to come tomorrow..





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Welcome to The Diamond Motel

The Diamond Motel [Converted]2-01


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Expanding the library

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TS Progress

170223---1 170223---2 170227 - ts1 170227 - ts2 170227 - ts3 170227 - ts4 170227 - ts5 170227 - ts6 170227 - ts7

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TS To Do List

170223_Test6_CGOne of the augmented portrait views of the supermarket.

Progress has been a bit slower than I intended over this weekend… but I’ll accelerate the production for this week!

I’ve been working on the calculations for TS to prove that real-time rendering may be possible by 2030/2040. The spreads below start to explain/calculate that idea – there are a couple more to go after this to show how contact lens AR may be possible in the near future. gflops diagram Petaflops and Exaflops

Here’s an outline of what I believe needs to be done for the TS submission (further developing the supermarket scene, the underpass, and the urban palimpsest are included, as well as doing some quick concept art for 3 of the other scenes):

00 Prologue

  1. Editorial (Write TS/Project Statements – Introduce Problematic)
  2. Compile Film Stills & Add Annotations
    1. The underpass x 3-6
    2. The supermarket x 3-6
    3. The urban palimpsest x 3-6
    4. Depressed Person x 1
    5. Urban Memorial x 1
    6. The Creation Dance x 1

01 City of Ghettos

  1. Filtered Self – add complexity/readability to node/edge diagram

02 Filtered Eyes

  1. Technological Evolution – calculate trajectory from phone to eye
  2. FOV/Depth expansions (append to light field section)
  3. Calculate/Guess Timeline to contact implementation
  4. Summary of other sensory augmentations – note they are outside TS scope
  5. 1:1 Interim Test – Document
  6. 1:1 Interim Test – Technical Drawing/area expansion diagram/vision limit or falloff

03 Urban Palimpsest

  1. Augmented Filter Bubble diagram
  2. Changing the scale of spheres of influence
  3. Philosophical consequences of personalised vision
  4. Spatial consequences of shared vision
  5. The best of both worlds – linking spatial proximity to cultural exchange
  6. The Underpass
    1. The Scene (shots x 3)
    2. The Mechanics (diagram/axo)
    3. The Setup (Film Shoot)
    4. The Composite (Edit)
  7. The Supermarket
    1. The Scene (Shots x 3)
    2. The Mechanics (diagram/axo)
    3. The Setup (Bare Renders)
    4. The Composite (Edit)
    5. The 1:1 Test – Shelf Augmentation (live demo for submission?)
  8. The Urban Palimpsest
    1. The Scene (Shots x 3)
    2. The Mechanics (diagram/axo)
    3. The Setup (Film Shoot)
    4. The Composite (Edit)

*Design Page Master (page numbers etc)

*Update Contents Page

*Add Page numbers to Contents

*Design Cover

*Print & Trim


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I’ve finally managed to control the speed of the footage attached to the screens with the media wall test video. Now, the transition from the room into the screen is much smoother.

I will now continue to work on this technique with a series of rooms that i will pan through bouncing in and out from one reality to the other.

So far, I’ve been modelling this new framework of rooms. I’ve attached a screenshot below to show how we transition from one room to the other. at the moment its a chunk of cables seperating Dan’s Room from his neighbour. Following this, server rooms and services can be emphasises much more?

23 Screenshot 2017-02-27 17.54.02 copy

Following this, i’ve been re-writing the script, allowing for more of a relationship with Reality 1 and Reality 2, allowing for me to constantly jump in and out through the screens within these apartments.

Finally, i’ve been thinking about the model and unfortunately could not get any slots today to cut some pieces. I have attached some drawings of the model though. To quickly explain, the model now works on 4 sides allowing for views to be composed out of more rooms and directions. I’ve made three main zones that i aim to fill up with trees, sand and perhaps even a city. The middle is somewhat of an atrium and will be filled with neon lights that will illuminate the model through-out. This obviously still needs quite a lot of work but i think its good for now as a structure.

2 1

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Parts of the machine

Today the framework of the machine finally became physical. The bones are made, the organs (the gears etc.) are in the making and the skin (the theater stage pieces) is being designed. IMG_9448 IMG_9449It has become a bit of a monster..


The theater stage I’m exploring making out of paper, a couple of references for (semi) 3D paper work:

3721068076_c2c6a367c6_b berg ChristinaLihan6 once-upon-a-time-campos-en-plymouth-washington paperarch01 paperarch10 release_img_01



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Cipher transport

These are still on going but here are the collage I was working on for transportation of blocks and loam.
– trucks carry the former (I need to add the glyph on them like I did on the boat, plus put marble blocks on the empty ones)
– barges carry the later – wasn’t sure if I should replace all the container by piles of soil. The two seems to connect better this. I probably need to remove the logo on the barge container like I did for all the trucks. The white squarish glyph is the “plan” that indicate where it comes from, my Iceland proposal in this case.

Screen Shot 2017-02-27 at 16.24.02 Screen Shot 2017-02-27 at 16.24.19

I am working on more things but still in process… will show more later.

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Jungle Set

Just finished assembling the jungle set. I updated the J-Q-K sequence to make it look more dense than the rest. I’m still not sure about the Ace, now it connects both to K and 2m but it doesn’t seem dense enough. What do you think?


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Aquaponic farming spaces


WIP of farm/aquaponics produce growing space.

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Cosmology of Surfaces

First test of rendering footage on simulated screens. Now to start being more narratively strategic about it as well as the placement of the screens and even their surroundings (room?) etc. … Couldn’t resist a bit of overly-dramatic music in the meantime.



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Faceted Footage

 Some screenshots of a short clip I’ve put together, to be uploaded soon when it’s done rendering. Just experimenting with laying out footage onto simulated screens and generally playing around with the ideas we discussed to construct a faceted diamond of screens.


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Scale(less) Landscapes

Currently looking at the interpretability of landscapes in terms of scale. Landscape can have a certain scaleless quality that when put with different other ‘scale references’ can be seen as either large or small scale. Context is everything.


beach_scalesmall Above is a simple photoshop version demonstrating the concept, but in the physical model, orrery version, these objects are connected by rotating them in front of one another.

So I am compiling different landscape scenario’s and scale reference object that can be interchangeable and universal.


Another couple of possible landscapes include:

lawntulip fieldsonce-upon-a-time-campos-en-plymouth-washington Meridian, California Knights Landing vineyard greenhouses

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TS progress

Screen Shot 2017-02-23 at 21.46.08

Working on TS, adding more spreads regarding the actual design… This double page is about material and volumes of the Icelandic site.

More is on the way…

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Trying to figure things out




















Here is what i am currently doing – compiling what i know regarding waste management (in the UK). I have put my hand on great things, but i feel like it is added on top of what i did until now, without a strong and fix argument to link all these things together.

[to be honest i feel a bit lost]

I have a narrative on the notion of belief, the obsession of revealing things hidden behind this belief, the fact that its sheer beauty is lubricating our reality. On the accumulation of ‘wastes’ that the fast consumption supported by this belief generates. I have G. Bataille arguing that this waste is in fact the necessary ‘unleashed’ energy needed by every system/organism in order to maintain its own structure. But that in fact the system is now so powerful that it can absorb outburst (even violent such as wars) without falling apart [and that Tabula Rasa isn’t an option anymore]. And perhaps that it is due to its own generation of waste that it will eventually collapse – exploding after having accumulated too much…

But perhaps this last one is too violent and too radical. I am thinking of reconsidering my narrative on recycling as ‘system-based practice’ but more as a practice that we need to radicalise in itself. Modify its structure and its end. And this requires [in all cases] a re-consideration of wastes as products other than functionless fragments of a past-life.

We talk about the Coca-cola can as the ultimate exemple of a product enable to have any function while empty… But also electric cable, heaters, concrete, window frames,… if we want to deal with the architecture itself. Which is also one of the main point : the production, use and disposal of buildings are from far the most important producer of waste, and of wastes that are hard to dispose of, recycle – and often hazardous, heavy,…

I also feel the need to have a defined objective in term of production for the jury, i feel like i havent produce much more than a long argument for the last weeks without any document to support it…

I really need to fix that tomorrow


TExt-02 TExt-03 TExt-04

TExt-09 TExt-10 TExt-11

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TExt-17 TExt-18TExt-20

TExt-21 TExt-22 TExt-23 TExt-24 TExt-25 TExt-26 TExt-27 TExt-28







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Model skeleton


I started making the model base which should allow me to work on the different pieces separately and replace them etc. Here is a test of the perceived linear movement and the model below –


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City + Jungle progress

Adding elements to the city set. I added more topography and a beach to merge Hong Kong with Rio. Also I shifted the ace (with burj khalifa) to a new position after the king, so now it connects the ends of the set.



Also working on the King-Ace-two connection in the jungle set, where i’m currently redrawing the last cards (J-Q-K-A), to make them look more dense compared to the rest of the set.

This is just the scan, will upload the composed set later tonight. CANOPYPROGRESS


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TS Pages – Preparing for the “Virus”

Ebola Virus Particle

Ebola Virus Particle

It is interesting to try and take the ways that viruses work and propagate and turn it into a method for attacking architecture. Since yesterday, I have created some more TS pages, looking at bespoke design features which could be inserted into a building. Next step would be to document the process of how they are constructed.


170223---1 170223---2

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I’ve been working towards a few scenes from my storyboard.

Here’s a preview of a new room that will be shown in the trailer.


Large 2

I’ve played with speed mainly with the video below. As the camera flies through the spaces, the different lights on the columns begin to blur into somewhat of a tunnel or worm hall. I would definitely like to explore this technique further with more space.

This will be added into a sequence of more rooms that i will work on within the next couple of days.

In regards to the script, i have been revising the flow of the text emphasising further on the two separate realities of Dan’s Room and Delta. The aim is to find a way to constantly jump in and out of the virtual into the real..

I’m currently in the process of designing my model and will hopefully have some drawings of it by tomorrow.


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Media Facets

Diamonds are Forever_07 Diamonds are Forever_08 Diamonds are Forever_09The World as a Surface of Media Facets

Diamonds are Forever_03

The object only exists on the surface. The ‘thing’ itself can only exist as its recorded self.

The Earth as a long exposure shot from the faceted International Space Station Window

The Earth as a long exposure shot from the faceted International Space Station Window

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Supermarket Scene Tests

170223_Test1_CGBeen working on test renders for the supermarket interior (unaugmented) – augmented views to come soon. Still waiting to hear back from Costco about filming on location, but I am thinking that I can do most of this scene with green screen and rendered environments.

For a transition between unaugmented view and augmented view, I think the Westworld metacamera technique that Charles showed could be useful; we get the unaugmented view down an aisle first (like the one above), pan to a character’s face behind the camera, and then reveal their personalised view as we pan back to the aisle.

170223_Test2_CGThis Gursky-like angle can imply people waling through the aisles by showing augmented environments moving along aisles in the background, showing people moving below.


170223_Test4_CGFrom above, we see the ‘group shopping’/flocking behaviour. Could use rendered people for this view so long as it is rendered as a time lapse – fast moving motion blurred people can hide the fact that they are rendered.

*Some earlier tests below.

170222_Test2_CG 170222_Test3_CG

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More pops

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10am commute


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World as Surface

Looking at the world and its events only as an agglomeration of surfaces

“Just look at the surface of my paintings and films and me and there I am. There’s nothing behind it. I’m all surface nothing else”
Andy Warhol 
“The skin disappoints … Clearly the only thing he possesses weighs upon him. It is superfluous since possession and being do not coincide. Possessing it is the cause of misunderstanding in human relations. I have an angels skin, but I am a jackal; a crocodile skin, but I am a puppy; I have black skin, but I am white; a woman’s skin, but I am a man. I never have the skin of what I really am. There is no exception to the rule, because I am never what I have.”
Eugenie Limone-Luccioni (‘La Robe’)

2017-02-22 (12) 2017-02-22 (13) 2017-02-22 (15)


The condition of footage should be seen, not as a collection of fragments but in terms of a seamless  skin/surface – the surface of the lie or the architecture of the fake.

In spatial terms how architectural forms are only attributed meaning through the event they host and the way we are guided as audience to read them (consume them as part of an edited spectacle) on screen.

The screen speaks of the ultimate surface illusion where any form is flattened into an endless stream of consistent spectacle.

The visual nature of form does little in addressing fact or fiction; it is always a fake or something trying to represent the idea of truth. Hence the fake should be seen in aesthetic terms.

When the most beautiful or purest forms often require huge methods/resources/structures to construct and maintain them then even our ideas about pure beautiful forms having some inherent reference to truth is a lie.

On Screen everything becomes an exterior 

It’s a project about surface/skin. Whether the object is on the scale of a landscape, a wall texture, a luscious fabric or a grotesque element the surface design and the subsequent editing of these spaces into a narrative on screen will begin creating associations and discuss the idea of adding ‘narrative meaning’ to architecture that arguably can never inherently exist as testimony to ideological ‘truth’ or ‘falsehood’.

What is the surface of architecture today?

What is today’s multifaceted diamond?

How is the new object recording the thing but never actually seeing the thing?

… not quite the faceted diamond of screens I’m after but a crazy set-up nonetheless:

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On the importance images took over the years in the way that they became increasingly important in order to construct reality (realities) :

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a carry on for my TS, I’ll be making a few sets of animation for the 1:100 model that i will be building. as well as some renders towards the landscape. Much like Nadav Kander Dust series to give an inside towards the environmental condition, weather, atmosphere etc… 
Some Richard Mosse Landscapey Reference. Shot with a Kodak Aerochrome Film.

Some color reference to baseline the color scheme for the landscape / terrarium / aquascapey model.

395-feb-5-octopus-kisses 394-march-2-underwater-pen-marks 515-april-29-a-sun-in-blue-space 476-march-25-my-little-pony-swirl 540-may-19-paltrow-in-contagion june-9-the-purple-people-eater 554-june-6-jellyfish-with-candy 3-june-17-leaving-the-nest june-11-you-are-getting-very-very-very-sleepy 568-july-7-my-friend-nico 576-july-14-strawberries-and-cream 588-july25-snowballs-resting-on-a-vibrant-plateau 687-july-18-vortex-pimples 673-august-29-blurred-lines 389-feb-7-paris-hilton 572-september-5-sprinkled-on-marble

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3 suns

01 02 03 04 05 06 07 08

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City Set Update



adding parts to the city sequence.

Trailer Park  /  Phoenix  /  LA  /  London  /  …   /  Hong Kong


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2017-02-20 14.45.54

Quick update, I was making these during the week-end. Currently working on the final design of these two blocks, that will be stacked one on top of the other.

If things go according to schedule, the first one should be CNCed by Friday, and the second one by Monday (as I need to consider approximately a week for drying).

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Drawing the gaps

I’ve been learning how to s draw the gaps, the lines represent the mass and voids.The holes/gaps is what makes the drawing spatial.


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Video Game Worlds



I am a starting this post with a very interesting photo from the construction of one of the houses in Levittown. It describes the sort of architecture that BIM creates; the architect is no longer the author but the curator of building elements.

After Friday, I decided to draw a plan of my video game world. It comprises of 4 worlds, that some already exist from the previous versions of the game. The worlds are:

1. BIM world and BIM HQ

2.historical world

3. natural landscape world

4. graphene or unobtainium world

The aim of this game is to try to disrupt the BIM world by transporting material and fragments from the other worlds into it.

At the moment, I am drawing a plan of the video game world. In the process, I am trying to think how these worlds connect. Are they geographical locations sitting one next to another, are they floating islands or are they stacked one on top of another?

map-of-video-game-worldAt the same time, I tried to create the core of the BIM world, which is the BIM HQ or factory, the place from where BIM creates the standardization of its world. The player, in the last stage needs to enter the factory and destroy it.

factory floor

The Factory of Compromise, where multiple subjective designs become one singular objective design.

flooding room


The Flood Room, where multiple designs come in liquid form to become a uniform liquid.

screens roomThe Control Room

170220 - grahene tsI am also working on TS, making pages on Graphene. The research and creations from that material will become part of the graphene world in the game.


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Stills + References + Drone Test!

A still from the drone test (video at end of post).

Drone Test

I’m working on still concept images to guide the shoot and explain the film for TS in terms of atmosphere, content, and camera angles. (More to come…)

00_Meditating Man's EyesThe Meditating Man Looks up into the Urban Palimpsest.

01_Empty City 1 01_Empty City 2 01_Empty City 3 01_Empty City 4Scenes from the empty city

Parallel to that I am beginning to compile cinematic references in terms of colour and composition for some of the proposed scenes.

S1 S12 S13 S14 S15 S16 S17

Here’s a link to an analysis of the relationship between identity and city in Ghost in the Shell:


Finally, got to test the drone on Saturday – here is some of the test footage!

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Storyboard Scenes

I’ve developing the script of the trailer over the last few days through additional scenes that i’ve added into the storyboard.

For Act 1: Vastness (Horizon)


Plate 1 : Act 1

(Camera flying through vast  landscapes)

Like Dan, many have turned to Delta, a vast and infinite world unlike any other, different from ours yet strangely familiar. Here, fantasies become reality, cities are built within a matter seconds and anything is simply possible.

Act 2: Linearity

Act 3: Variability

3Plate 2: Act 2 and 3

(Growing City)

As a growing metropolis of rooms and worlds, delta is always changing and reconfiguring itself, allowing for a new experience to take place each time.

(Camera flies into busy city) (Lights)

Buildings compose a network of interiors as we travel into the street and journey into Delta’s enfilade of worlds.

Act 4: Options, Choice, Control and Rules

2Plate 3: Act 4

(camera turns towards door openings and reveals the worlds) (showing forest, grand palace, domestic interior, office space, warehouse, church etc)

Whether it is familiar of completely other, delta offers a world where we have the ability to choose and compose experiences and worlds that are down to us and our individual desires.

(Reshuffling Enfilade) (Changing Rooms)

In Delta, you are in control with the ability to change and modify these worlds allowing for an endless combination of possibilities. Be careful though, you might get lost.

(Moving through Enfilade) (composed of Abandoned Shopping Centre, Water Around Mountains, into Galaxy Room, with repeating a re-coccuring rooms in the end)

The physics of Delta vary but the only rule is that you can only move forward and not backward. This is because the world refreshes into another configuration the moment you pass through them. However, you might be lucky enough to see them more than once.

(Zoom out to Dan’s Room from screen, open door now appears) (Delta city in Sunset Framed)

For many like Dan, Delta has allowed for an interior much greater than we could have possibly imagined.

Delta is a place unlike any other.

It is based on you and what you want to do with it, giving you absolute freedom to explore a world where perhaps, memories will be created and dreams will become reality.

(White Screen)

I will now materialise some of these scenes to see how they fit. I’ve also begun to think about the physical model im making in much more detail. Will update if i get anywhere.

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Highway 2.0

Barragan as a highway sculpture (Almeria’s greenhouses below)blog pm

Barragan from aerial view as a super tall structure (maybe it could work in a physical model with printed texture…) blog pm2

I added Donald Judd’s concrete boxes in Marfa instead of the White Cube fragment which wasn’t really doing a lot until now. In this instance I tried to work with a mirror (the darker surface seen on the screenshot below), so that the entire piece could rotate 90°….and the Judd fragment turns to the New Museum, obviously.   BLOGGGGGGGGGGG



Also thinking of the camera arm – which should go up and down and zoom in and out. Will post a sketch of it later. In the spirit of making things too complicated, maybe the camera track could look like an additional highway?

I tried to decide on specific references for the landscapes of each fragment (from left and clockwise) –

*Barragan’s towers – The greenhouses of Almeria (good for the scale change)

*House VI – California highway number 1

*Judd – field (their original context)

*Jeff Wall – Mexico City residential area

*Kubrick corridor – NASA facility / room



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This weekend i tried to work more precisely on the 5th chapter of my book which ‘After the shift’. On friday we talked a lot about the notion of excess and re-arranging. The excess is the result of decades of accumulation of ‘fragments’ [the new + the waste it creates] without any efficient and radical processes of getting rid out of them. [due to the fact that both recycling and landfilling are in fact institutionalised process of re-fragmenting waste and putting it back again in the machine].

The plan before tables is to find a way of representing the idea of excess, first in an abstract way – at the urban / territory scale. Yesterday i went to the Eduardo Paolozzi exhibition at the Whitechapel Gallery (pictures below) because i was in the process of getting inspirations and had the feeling that part of Paolozzi work could in fact be qualified, graphically, with the idea of excess.

I see it as a extremely dense collage of fragments that tend to form a excessive and totally filled up mechanic which somehow the city – in my analogy of the accumulation is.

I am working on a drawing that will explore similar concern.

I also explored the re-arrangement that goes after the excess. In a way the sculpture model i am producing are re-arrangment of fragments, giving them a new story (rather than a new function). It reminds me as well of the work by Armelle Caron, a french artist whose work, Villes rangées, re-arrange the city as form of index of urban blocs as fragments, which forms a narrative only related to their size and form. (see below, Berlin, Paris and Le Havre re-arranged). Or I would say almost classified as well in the way they are display.

Armelle Caron

Armelle Caron - 01

Armelle Caron - 02


I produced one more picture of potential pits/holes [infrastructure] full of waste in the city. I feel like it would be nice to have the presence of some sort of a rather big scale infrastructure that would be used as a new waste ‘collector’ – and emphasise the quantity of waste. Here is port-container crane, i had a quarry before. Although i wouldn’t mind designing this infrastructure i fell like i can use similar collages in order to manifest its presence without having to generate its design. Also the enormous [almost unreal] size of it, its genericness and the fact that it is directly put in contact with urban landscape define in itself the valuelessness of the waste it contains.




Also here is a first caption of what the drawing associated with the idea of excess could look like

Screen Shot 2017-02-20 at 16.17.49

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Machinery heaven

Found out about this guy who makes musical machines and I am totally amazed and in awe. Such beautiful music too, I can take a note or two on how his mechanisms work too. Really love the sound all the parts make and maybe I can incorporate some audio performative aspect into my machine later on as well.

This one has another crazy amazing electric instrument in it called a ‘Modulin’ designed by him. It’s a handheld synthesizer played like a violin.

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City Sequence – In progress

long render tut

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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.

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Post TS jury

I will begin moving into the interior also tying together the project to be more legible overall.


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Delta Narrative

I’ve begun to rework the narrative and storyboard according to a presentation format. I’ve structured it around a single room. As an example for now, I’m bringing up this image i made earlier this term again.


I want to rework this room more and contextualise the trailer for Delta around it.

For my introduction, i’ve decided to use a character that i’ve named Dan for now. He will set up the context for my project and will perhaps allow for me to elaborate the background for delta a little bit more.

In terms of containment, i feel the room offers a certain paradox towards the proposition of the project as being vast and infinite. I think it would be interesting to always mediate between this and the world of delta (even though they’re both virtual)

For the trailer, I’ve structured it into a 6 separate scenes, in which i will narrate over.

The scenes are as follows:

Vast and Infinite (Horizon)

Growing and Changing






Here’s what i’ve got so far. Storyboard drawings will be added later but i’ve written down descriptive notes for each of them.


This is Dan (Video of Door in Corridor)

He lives in generic studio flat in a housing estate in the poorer end of town. They were built quickly in order to tackle the housing crisis that has displaced many within the last decade. The rent is high but reasonable and the location is good.

(Video of Street)

On his street is a supermarket where he purchases his groceries, a café where he gets his coffee, his bank just around the corner and a small art gallery that he visits from time to time.

(Video of Room)

Dan mainly works from home, he is a software programmer and receives a decent salary for the freelance work he does for tech companies all over the world. In his free time, he plays games and watches his large collection of movies and television shows that he’s obsessively archived over the years.

“I am a gamer not because I don’t have a life but because I choose to have many,” he states proudly on his Facebook page.

(Zooms onto Desk)

From the confines of his home, he orders food, shops online, browses the web, speaks to his friends and joins the billions of active users on the multiplayer game platform, Steam.

(Desk with iphone, vr headset, computer, game console etc)

With a powerful computer, VR headset, and sensitive haptic gloves, Dan has the ability to visit and inhabit a collection of virtual worlds, vast and infinite all within the confines of his room.

(Video floating through “avatar land” on appears on screen) (camera moves forward)

“The ability to jump from world to world is completely breathtaking” Dan scream excitedly.

(Zoom out to scenes of office space, apartment, view of city)

He prefers it to the generic buildings and spaces that have been rapidly built within the last few years. “Everything looks the same! Buildings tend to repeat themselves and I’m just tired of them,” he complains

(Back to Room) (Facing Television)

Dan is the common denominator and the manifestation of the average individual today. He is amongst the many who spend their lives in this reclusive manner, compartmentalized into a variety of generic rooms in the city.

As many live their lives isolated from one another and contained in the interiors we inhabit, a new interior however has provided a chance for us to connect once more, forming the possibility of an interior that we can create, inhabit and consume.

“Here, everything is the way I want it to be”

(Dan is of course talking about Delta.)

(Delta trailer appears on tv screen) (camera zooms in)

(Camera flying through desolate landscape)

Like Dan, many have turned to Delta, a vast and infinite world unlike any other, different from ours yet strangely familiar. Here, fantasies become reality, cities are built within a matter seconds and anything is simply possible.

(Growing City)

As a growing metropolis of rooms and worlds, delta is always changing and reconfiguring itself, allowing for a new experience to take place each time.

(Camera flies into busy city) (Lights)

Buildings compose a network of interiors as we travel into the street and journey into Delta’s enfilade of worlds.

(fly through of “infinite” long corridor)

With so many possibilities, delta’s world and its architecture seeks an experience that has been so carefully masked and lost over time – an architecture that fascinates and draws one to another.

(camera turns towards door openings and reveals the worlds) (showing forest, grand palace, domestic interior, office space, warehouse, church etc)

Whether it is familiar of completely other, delta offers a world where we have the ability to choose and compose experiences and worlds that are down to us and our individual desires.

(Reshuffling Enfilade) (Changing Rooms)

In Delta, you are in control with the ability to change and modify these worlds allowing for an endless combination of possibilities. Be careful though, you might get lost.

(Moving through Enfilade) (composed of Abandoned Shopping Centre, Water Around Mountains, into Galaxy Room, with repeating a re-coccuring rooms in the end)

The physics of Delta vary but the only rule is that you can only move forward and not backward. This is because the world refreshes into another configuration the moment you pass through them. However, you might be lucky enough to see them more than once.

(Zoom out to Dan’s Room from screen, open door now appears) (Delta city in Sunset Framed)

For many like Dan, Delta has allowed for an interior much greater than we could have possibly imagined.

Delta is a place unlike any other.

It is based on you and what you want to do with it, giving you absolute freedom to explore a world where perhaps, memories will be created and dreams will become reality.

(Black Screen)


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Planning ahead

I was processing feedback from the jury, here are the few points I will focus on  for the coming weeks :

– “Do the thing” : making a large plaster block, 40cmx40cm that will be a 1:500 of a 200m x 200m site in Iceland likely – this will be documented accordingly through all four phases : scan, extract, move, add. I will “mesure the hell out of it” to quote Nacho.

– Looking at few ways to improve my booklet researches, I notably checked the ICE Frederico was mentioning  – also to finish certain parts (pouring materials) and reorganising others (scan, extract); making the point more clear overall.

– Working on the narrative in parallel and working on imagery accordingly – I am considering a scenario in which a mysterious stone is the trigger. The stone was found in Peru although it seems to be from a Carrara marble quarry. Yet the stone has been engineered in a very advanced way and was sent to the British Museum for deeper investigation. From this point on, researches will be done in Carrara and we will start to understand an existing network of places that has been active but yet no one paid attention to it (in a rather Kafkaesque way).
The next part of the story needs to be more precisely thought but it will be about discovering these places and seeing what they depict, how they relate to current flux, events, anything etc.

Finally, a rather atmospheric reference I found recently, in a similar spirit that Virilio’s Bunkers – Marc Wilson “The Last Stand”

Marc Wilson, The Last Stand

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Post TS Interim Jury

interim-ts-book-1 interim-ts-book-2


The conclusions that I made from the interim jury are the following:

1. Vilify BIM; Try to make the arguement against BIM stronger. Why am I blaming the tool? Doesn’t it depend on the user and how they use it?

2. Find the “yellow brick blocks”; Find examples of buildings entirely made with BIM.

3. Introduce a virus; I have been talking about ways to destroy a process, so it would be a good idea to use that as a process to destroy BIM.

I have been both looking at virus structures and the way they work, but also working on stills of the game.

More to come later…






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City Set – Road density scheme

Currently working on the city set. It will have a density gradient that goes from a trailer park to Hong Kong. I just laid out the roads for now, now working on the buildings to fill in.City-Scheme

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TS Interim: plan from here

01For the next three weeks I plan to work on 3 of the scenes from the film in detail – to be incorporated into the TS final submission as the ‘design’ element of the TS, drawing on the principles explored in the tests so far.

1. The Cross-Over

This scene – where two strangers cross paths and their extremely different worlds merge briefly, sets up the mechanics of the AR in this city – demonstrating the total and immersive nature of personalised AR, establishing the fact that people transform the city around them as they walk, and that mixing of worlds occurs when people are withing a certain proximity of one another.

2. The Supermarket

This scene begins to elaborate some of the strange behaviours emerging in this city. People shop in a huge supermarket, but only see the products they are used to consuming. As a result people spontaneously travel in flocks with strangers to reveal more products when they are looking to expand their tastes.

3. The Urban Palimpsest

In the centre of a city square, where hundreds of thousands cross paths every day, the city is never still, and it is never the same. The streets are a spectacular merging of ideas, beliefs, and preferences, with city-wide trends being subtly identifiable amongst the surface chaos.

The breakdown of the entire film so far is in this drawing below – illustrating scale shifts, emotional tone, and level of augmentation accompanying each of the planned scenes so far. For the scenes not done in detail, the plan would be to work up concept imagery for each of them for inclusion in the TS so that the document captures the overall scope and ambition of the film, even if it only samples 3 scenes in detail.

The City's Eyes - Timeline


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Circular Focus

I’ve been questioning the paradox in my project of the non-linear/ linearity of the narrative. I’m trying to rethink and focus on everything within the book as a circular loop.

-Circular space: I’m working on a pop up where the space unfolds in different directions, with a play of  stairways, doors, mirrored rooms..etc..

IMG_0427 IMG_0432


-Circular story: The story as s circular narrative where the end brings you back to the beginning, every story could read to where it initially began.This brings me to think of  introducing the theme of life and death in the story. In the poem of John Hedjuck “The sleep of Adam” the author personifies death, which got me thinking of increasing the awareness of the black hole within the story and maybe even personifying the hole which could therefore take a step beyond controlling the narrative , by actually being a character itself?   The only thing that progresses within the story is time, the rest falls in a loop.The book shouldn’t have a front and back cover? It starts automatically with the story…The book can’t be shelved at the end of the story within a library, It needs to be constantly shelved and unshelved… If that makes any sense…

The book evolves into a hybrid medium,here is a nice Ted Talk on rethinking the interaction with books :

-Funny  Palindromes (phrase which reads the same backward or forward):

Madam I’m Adam //  Air an aria // No lemon, no melon // Are we not drawn onward to new era? // A Santa at Nasa //  Ah, Satan sees Natasha! (sorry about that one )

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Again some new spreads of the book :

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Also i have been looking closer to what it means to recycle today. It looks like recycling in london is entirely taken into a very institutionalised system, which complexifies a lot both the understanding of ‘what do i need to do’ and the way the treatment cycle works. Four major waste disposal authorities and several other smaller organisations (of gathered towns/communities) are taking care of waste collection/treatment and disposal in london.

These are the 4 major ones.

East London Waste Authority

Western Riverside Waste Authority

North London Waste Authority

West London Waste Authority

The other boroughs — that is to say the city of Westminster and the City of London along with Bexley, Bromley, Croydon, Greenwich, Kingston, Lewisham, Merton, Southwark, Sutton and Tower Hamlets — are independent waste authorities in their own right.

The four boroughs of Croydon, Kingston, Merton and Sutton work together in a voluntary capacity as the South London Waste Partnership.

[Without even talking about what you need to actually throw away in which color bin sack, the organisation of waste treatment is already complex. Each website is different and none says exactly the same thing about what you have to recycle,… and they actually often redirect you to the website of the borough you inhabit in order to precisely know what to throw away – but a lot of these website send you back again to the waste authorities website…]

I am still searching more infos, and also trying to get my hands on precise data about the ‘legislation’ in term of what you can throw or not, and where but it appears more and more that discard things through recycling is in fact an institutionalised process of fragmentation to which we have trouble to respond because we are made to think in term of ‘whole’ and ‘ensemble’. It appears hard for us – and even to the institution to efficiently fragment things. And it emphasises the increasing size of the accursed share : we are made to consume a lot but hardly to dismantle and discard.

And eventually i have refine elements and events of the narrative.

The shift

02 December 2039, almost exactly 30 years after the signature of the Lisbon treaty, the amount of waste produce during the month of November 2038 has officially overcome the amount of goods produce and imported into the European Union. The accursed share, as G. Bataille named it in his theory of general economy a century earlier has exceed, not just in size but in value, the production of the new.

Disruptive condition for the EU economy dogmas

Although the principal market places had predicted similar scenario for quite some time, it has arrived much sooner that expected. The deflagration is heavy, causing the market places to close at rates never reached.

New cultural condition 


No purchase / only re-use 

The different government’s reaction are fast and without any hesitations. It is time for an important change in our western cultural practices. There is a need to re-consider all the economy around this wastes in order to dramatically reduce the quantity we produce and use those already in front of our doors, in our bins, produce by our neighbours.

… more to come

A spread of what the catalogue of trash could look like :

Screen Shot 2017-02-16 at 14.32.30


+ Image of Mucking Marshes Landfill, it is to be the biggest landfill in the UK, and one of the biggest in Europe, 48km down the Thames from the school.

Mucking Marchs Landfills

And a tyre graveyard in Kuwait

Tyre graveyard Kuwait

Tyre graveyard Kuwait03

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Freeway of love

View of House VI on a mountainscape, highway running below (will add a mountain-y / cliff-y texture)asdfasdf


Maybe I can try to make it look like this –

12 miles

View zooms in -asdfasdfasdf

View rotates – House VI and the top of the mountain seem to ‘sit’ on two plinths in a gallery space – the plinths are the top of two Barragan towersglogggg

Trying to make the Kubrick scene make sense on the highway – added the rest of the spaceship behind blogggg blogggg1222222


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Beautiful and Grotesque Scenes

Everything below are screenshots from dozens of films and clips I’ve been compiling. I am currently trying to formulate a narrative to begin mincing them into a new film. Some are beautiful and some are grotesque beware.


In order to begin thinking of the 3 act narrative of the new film I draw from the book ‘The Myth Gap’ I have been reading to describe the acts as follows:

Act 1: Facing a real Event – describing reality as it is

Act 2: Dealing with the Event – help people face the reality (lamentations)

Act 3: Prophecy – constructing hope for the future

These are very general themes that can propose a new way media-scapes can construct news. Specificity in their content is still needed.

170216_FilmScenes_Page_01 170216_FilmScenes_Page_02 170216_FilmScenes_Page_03 170216_FilmScenes_Page_04 170216_FilmScenes_Page_05 170216_FilmScenes_Page_06 170216_FilmScenes_Page_07 170216_FilmScenes_Page_08 170216_FilmScenes_Page_09 170216_FilmScenes_Page_10 170216_FilmScenes_Page_11 170216_FilmScenes_Page_12 170216_FilmScenes_Page_13 170216_FilmScenes_Page_14

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Satellite View findings

I just found this on google maps, it’s somewhere in Australia. Isometric projection merged with a satellite view.

Screenshot 2017-02-15 15.28.22

Also found this Persian style carpet land art, which happens every year in Hormoz Island.   These are definitely going into the desert set!

Screenshot 2017-02-15 16.06.15

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paper architecture

I am currently trying out some architecture pop up tests:

IMG_0437 IMG_0434


Here are some great examples:

CIMG7850_2 yoshinobu_miyamoto 1

….more on the black hole:

”Black holes we believe are produced by the collapse of the core of  a massive star something like 30 times the mass of the sun.When it comes at the end of it’s lifetime the massive star burns  its core and comes a point where it can no longer hold itself, it creates a black hole and at the same time a supernova.

The supermassive black hole in our galaxy is nibbling on other cosmic matters, its inactive compared to other black holes, our galaxy has very little gas at its’s centre, so it doesn’t really have much to feed on. Its going on a starvation diet…”

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Cubescapes and “The Ugly”

I have been reading the text on “The Ugly” and trying to reframe my entire argument around certain key aspects of it including ideas about excess and boredom or fear of death. Mark speaks of it in Freudian terms and also refers to escapism as playing dead when we use our conventional approach to beauty as a way by which to project our desires and escape the non-space of loss or meaninglessness that is the ugly.

I particularly like how the argument refers to the idea of surface, the masks of expression and how it elaborates spatially by bringing the debate around notions of the exterior and the interior and their representations of each other. This made me think of the model ideas of ‘footage event’ fragments I showed in this reference last time form a Unit 15 student at the Bartlett:


His project was about a Rubix Cube city which is totally different but the object above is quite inspiring for a potential next phase model to build into my film.

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Getting ready for TS

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What is Delta?


Before i produced anymore work, i thought it would be a good idea to go through some literature. I’ve been reading a bit of Neuromancer by William Gibson, the latest WIRED “The End of the World” Issue, EDGE magazine’s “The Making Of… 50 of the best and most influential games of all time.

I’ve watched a few documentaries on the e-sports industry.

These very accurately depict the gaming industry and the amount of success its gained within the last few years.

Mainly, i’ve spent the weekend trying to finish Ready Player One by Ernest Cline and thoroughly enjoyed its high visual narrative.

It circles around a Mass multiplayer game called OASIS that it is used religiously by millions of people every day.  This all exists in a distant future, where through climate change and human consumption, the world has been transformed into a bleak and sad place. With a stagnant economy and very little opportunity for success in the real world, many have found an enjoyment and pleasure in the space of OASIS’ collection of virtual worlds. With an OASIS console, visor and haptic gloves, the user is transformed into an avatar and brought into incredibly rendered spaces, worked into every detail meticulously and convincingly. With one of the most stable economies and currencies on the planet, the game allows for activities such as shopping or studying to more fantastical quests and battles against other players. A world where the fat would become thin and the ugly would become beautiful, many have opted for their better selves in this alternative reality, all accessible from the confines of one’s room.

The story follows the death of James Halliday, the creator of OASIS and for the remainder of his wealth and inheritance to be won by the discovery of an Easter Egg.

A videogame Easter Egg is usually hidden within the games code, allowing for players to discover it through a series of clues or hints. Atari, the game developer used to remove names of individual game designers from their products, seeing it as a means to prevent competitors from identifying and luring Atari’s programmers. In the game, Adventure, the Easter Egg is located inside the black castles (on level 2), where there is an invisible 1-pixel object referred to as the Gray Dot. The player must bounce the avatar along the bottom wall and pick up the dot. Bringing this dot to the east end of the corridor below the Yellow Castle, allows for the player to pass into a room displayer the words “Created by Warren Robinett.”

The person to uncover Halliday’s Easter Egg would instantly inherit all his wealth and control the vast lands of OASIS. With an offer to good to refuse, millions of “gunters” were addictively committed to the search for the Easter Egg. With thousands of virtual worlds and planets to look through, it would take forever to search through the whole of OASIS.

The format and idea of OASIS is incredibly fascinating because it allows for a deprived generation of individuals to escape into a world so much more perfect and beautiful than the ones they already occupy. With every book, every movie, every video-game and every artwork loaded into the network’s servers, the OASIS seems like a place where everything is compiled into one place.

Drawing from this, i’ve structured some of my thoughts into what Im working on and thinking about at the moment. Context/Game/Trailer/Walkaround

Im still far from being done with what the game should be but here are some thoughts..


With the pre-mature birth of consumer virtual reality in 2016, I can’t help but to speculate a world with the technology capable of creating a truly immersive experience, allowing the user to step into a world as convincing and as real as the physical spaces and environments we occupy through daily life. Millions of individuals are already devoting a large amount of time, playing and often striving to becoming the best at these games. With games like League of Legends attracting just over 100 million individual players every month, society is already embracing a world where life could perhaps be spent on the virtual world. Already, a higher education and accessibility travel is reserved to a small fraction of the world’s population and the inequality of wealth is more evident now than ever before and with the clear threat of climate change, many of the world’s landmarks are in serious danger. Through this irreparable damage and complaisance, it would be difficult to restore our world to the state it once was.


In the virtual, anything is possible, cities can be built in the matter of seconds and urban planning will have never been easier. It would be a way for us to revisit our memories and curate a world that is the result of our desires. Delta is a virtual palace, formed by an infinite enfilade, with endless combinations and configurations of rooms and possibilities. The enfilade follows a different setting every time the game is re-started and begins in the first room also known as the great hall. The palace can be seen as a game menu, allowing for the element of choice and decision that will allow for the progression of the game to take place. Here, the architecture is completely manipulatable and changeable allowing for individual players to curate specific experiences and tailor their environments to themselves. With vast landscapes and environments to occupy, inhabit and consume, players will find themselves building memories that are amongst the many that will be stumbled across in the space of Delta. When the enfilade resets itself, the arrangement of the rooms begins to re-arrange and re-construct itself unless the user is already tuned in.

I haven’t decided what the purpose of the game would be just yet but the initial ideas of being a virtual reality where life can continue is a fascinating idea that I would still like to pursue. The architecture for these spaces can then be considered much more.

As the user leaves the thresholds of the palace, many find themselves in vastly familiar worlds, where rooms connect to one another, constantly offering the element of choice in the process of playing the game hence leaving the fate of each gamer to be left to a few thousand options. Spaces will vary from highly realistic to sometimes, fantastical 3D renderings.

(This still needs some work)


I’m still in the process of storyboarding and deciding what to show when I make the trailer but the idea is quite simple. I want to frame my presentation in a few parts, allowing for me to sale the game first through a series of posters and trailers that I’ve been working on. The content should definitely revolve around the ideas of re-configurability and the ability to mould and change the fate of the game. I would still want to sale Delta as being a means of escape and to create a sense of fulfilment in individuals. I need to work on these scenes more when I figure out the content.


Accompanying the trailer, a walkaround video showing one possibility of delta will be made. I need to decide on this sequence further but more interaction with the interiors will be required where objects change scales as they are positioned in different locations and to emphasise on the relentless endlessness of the enfilade.

Will continue thinking and writing, while storyboarding the trailer.



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Tests for a physical continuum

Trying to figure out a future physical model – currently it’s based along an arc (a highway), where the camera travels around the fragments, as well as rotating inside the arc to simulate a lateral movement.

This GIF shows a possible end to the highway, where the scale shifts to the scale of the room. The highway becomes a table, and the the 2001: A Space Odyssey becomes a scaled down model.


highway to table copy

In the instance below the camera completes a flip above a residential building – the ground becomes the ceiling of Jeff Wall’s tableau, the voids between the pillars become the two large windows in the photograph A View from an Apartment (with the apartment-fragment as a removable piece).






JW for reference – A View from an Apartment 2004-5 by Jeff Wall born 1946

Trying to show Barragan’s tower as a 800-meter Burj Khalifa style monument


monument copy copy copy

The pattern goes from ‘flat’ to more 3D on the two sides of the highway as Barragan’s tower changes from monumental to a small highway sculptureflat depth




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Jungle Fever

Working on some jungle illustrations, in the process of putting them in a card sequence now. Updates on the city set coming soon too.


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Here are a few spread of the book i have been working.

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i have also been writing a draft of the possible scenario of what would be the cultural, political, economical and urban conditions after the shift [= the moment when the amount of waste we produce will overcome the production of the new]. It is to be read as a sort of timeline that is to be presented in the book, i imagine it being a sort of chronological evolution. I am now in the process of refining each of this point, perhaps adding some or changing others… it is a first draft. I also searching for ways to illustrate each of these captions, some first image draft are here as well.


-End of belief

-Disruptive condition for the capitalist economic dogmas


-New cultural condition > no purchase / only re-use

-New waste treatment condition

-Necessity to quickly come with a solution for waste collection and disposal. Perhaps the dig of giant pits in city center allowing for a decade of waste filling > images in London, Paris, Berlin.


-New aesthetic condition > use, re-use, re-use again, and again, and again, and …


-No function given to objects anymore [end of the term function as we know it]

-Only the physical outcome of an object/product is consider : no other meaning than its form.


-No new products > people use the pits as free and open supermarket

-Cities constructed on trash / Giant pits as supermarket / no economy (nice images to do…)

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Scale of the fragment


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

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A fragment of the mega-section

big section

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Habitable Planets !

Holy Shit ! I manage to make the planet habitable ! To change the circumstellar habitable zone all you need to do is adjust the luminosity of the star. Basically I mimic the luminosity of a red dwarf star ( Wolf 359 ) that exist in our universe as a baseline. balance out the ratio and walllaaaaaaaaa!! Trinary Figure 8 system with 3 habitable planet. hypothetically……. 
The Parameters for the 3 planets 


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Catalogue of mechanisms

As a start of a study I analyzed and cataloged potentially useful mechanisms to make my Landscape Orrery

Catalogue of mechanisms2

Catalogue of mechanisms4 Catalogue of mechanisms5 Catalogue of mechanisms14

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TS Update

More TS spreads… working on the tests of occlusion/distance/view angle now. TS1 TS2 TS3 TS4 TS5 TS6 TS7 TS8 TS9 TS10

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More views tests

House VI as scaled down model -blog5House VI in 1:1 –

blog6Barragan’s tower as monument in scaleless landscape –


The tower above a highway and also smaller than before as it appears next to a generic building on the highway –


highway turns to table -eeee


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A statue has replaced the missing caryatide


A small transportation of matter, yet with cultural and historical implication.

Currently working on calculating volumes and such for TS, will show more tomorrow.

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Storyboarding Board


The blank canvas of the film. Using my previous editing structure and the screen layouts over the duration of a 12 min. I am rethinking what new forms of footage to start selectively placing and what new spaces to create. Looking at films of beauty and reading into Mark’s text on ‘The Ugly’.

Been gathering atmospheric scenes from various films. An intro of zooming into earth as I proposed last time is also what I plan to have a draft of tomorrow.

An idea for a ‘mincer’ model of landscape construction is also something in the works and I plan to discuss the idea tomorrow.


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Cards Structure + Tests

I decided to have an isometric view for my cardscape. There is a common way of structuring the content within the cards, shown in the diagram at the end.

I did some tests to create a various landscape, which combines more or less realistic terrain with graphic signs and letters, as well as characters and objects. The vectorial elements (aka golden river looking things and lines) are used to connect the cards and make them easier to tile together.


Ace of Openings:


Two of Openings


Six of Columns


Seven of Columns



Card structure



More cards coming soon

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Reconfiguration and manipulation has been an underlying idea within the project. For instance, the physical models i’ve made so demonstrate the ability to constantly change and re-arrange my rooms within the framework of a linear enfilade.

Within the came, the aspect of reconfiguration and choice should be emphasised further. To be able to constantly change and mould would nonetheless result in a world that can be extremely personalised and individualised.

The game provides a variety of options, paths, creating and element of choice in this vast world im creating.

Im currently working on a panning video showing a series of doors and the variety of enfilades that lie within. This is still very much in progress and im still deciding on the spaces that lie within these door openings.

Screenshot 2017-02-09 18.05.57 copy


I’ve also been experimenting with the city scene showing the towers growing.

Screenshot 2017-02-09 15.28.19

I think the ability to change and choose how the game works is fundamental to what im trying to sell when i finish the trailer.

Im going to continue working on these now.


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Figure 8 Formula’s

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Could graphene “jam” the BIM gear?


I think the above image can summarise my whole TS proposal. Jamming the tool with material.

A quick summary:

My project is about demonstrating the value of learning to design vs. the value of learning to put a building together and thus asking architects to use tools that enable design rather than constrain creativity. The video game is an interactive medium that can communicate the idea to a wider audience than just architects.

The scope of the TS is to kill BIM. BIM is the ultimate representational tool that makes the production of construction documentation easier, but makes architects spend less time on designing and more time on conforming to the tool’s requirement.

How do I kill BIM ? Understanding how it works, and finding its weaknesses from which I produce the “poison” with which to kill it.

(I am specifically using Revit)

Weakness 1: Elements have to be specific; Revit understands the model as a composition of “families” (as it is called), pre-defined building elements (set by the default software libraries, conventions and products that are distributed by companies).

Poison 1: How to NOT communicate to Revit or The Elementless Form; Introducing a form that can provide the properties of conventional building elements (e.g. wall – enclosure) without being broken in elements.

Weakness 2: Materials have to also be specific; Building elements need to have a specific materials and composition, in order to be used for structural calculations and cost estimation.

Poison 2: Finding the “Unobtainium”, the material that can look like the abstract forms of CAD software modelling. If there was a material that could approximate the digital material found in modelling software, then construction conventions would not be necessary.

Probable Consistency of Poison: Graphene (photo below) Graphene is so strong, that a sheet of it as thin as a clingfilm could support an elephant!




Possibilities to explore in TS:

How could structures be changed? How can graphene deal with other properties beyond structure, such as enclosure, light permeability, et al.?

How could graphene change the construction process? Is graphene cast, 3d printed or assembled in pre-fab elements?

Comparing the bias of the material vs. the bias of the tool?

Could graphene “jam” the BIM gear?

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Exuberance is beauty – William Blake

Recycling is trendy – Ban Ki Moon

Superabundance is real – Etienne Gilly


A new reference got into the project since last tuesday, which i feel might quite important in the construction of the narrative of project. Georges Bataille work, an more specifically the book he wrote between 1946 and 1949 The accursed Share.

It is a book on general economy and politic. According to Bataille’s theory of consumption, the accursed share is that excessive and non-recuperable part of any economy which must either be spent luxuriously and knowingly without gain in the arts, in non-procreative sexuality, in spectacles and sumptuous monuments, or it is obliviously destined to an outrageous and catastrophic outpouring, in the contemporary age most often in war, or in former ages as destructive and ruinous acts of giving or sacrifice, but always in a manner that threatens the prevailing system.

In fine, what Bataille seems to say is the following : an organism in Bataille’s general economy, unlike the rational actors of classical economy who are motivated by scarcity, normally has an “excess” of energy available to it. This extra energy can be used productively for the organism’s growth or it can be lavishly expended.

It is important to me because it introduces two notions into the project that weren’t explicitly present until now, and that both feed the overall narrative around wastes but also offer a frame in which to develop the question the construction of reality. The first caption introducing the project is :

The project is a conversation between the contemporary construction [composition] of realities and the junks and leftovers that these realities produces. In other words, the project takes for granted the fact that our reality is composed, staged but, because they push toward an always more precious and perfect aesthetic, they tend to increase dramatically the production of wastes, junks, rubble and leftovers. Constructed realities are the main producers of the accursed share.

In order to maintain the economic system under its current form and in order for these realities to continue to exist, the industry and public authorities have put up with legislation on recycling as the main canal through which the increasing quantities of waste that we produce is evacuated – and partly re-inserted into the cycle. Eventually, as Bataille seems to be referring as well, the production of waste is likely to overcome the production of new.

Burps of such a scenario are occasionally happening, and historically we can relate on what is was like, from constructing entire parts of cities on landfill, to uncanny image of tons of rubbish left on streets only after a few days of binmen strikes [], creation of important landfill projects in different places in the world,…








In addition to waste reduction and recycling strategies, there are various alternatives to landfills, including waste to energy incineration, anaerobic digestion, composting, mechanical biological treatment, pyrolise and plasma arc gasification, which have all begun to establish themselves in the market….

What the project deals with, from this point, is : whatever recycling, landfill, and other technics of taking care of wastes, it wont be sufficient to handle with the booming production of wastes in the coming years. So what are we going to do after point of no-return, when we will have to deal with wastes in other ways that the ones enumerated above ? The project argues, therefore for a complete change in our cultural approach of wastes and economy. By default, we are [at the time of the project] to a point where wastes will HAVE TO be taken out of their traditional cycle.

The first question that the project raises is about the value of products, that, by definition, have no functions anymore. Are they to be considered as valueless fragments that shouldn’t be consider in other ways than just physical form ? Or are they to be given a value, enhancing an economical shift in the way we consider waste ? Both ? perhaps both can actually exist within a same cultural context ? I dont know yet.

The second question is about the collection itself of waste-surplus. Are we to consider some kind of public infrastructure to collect them – and then to do what ? This might depends on what the answer to first question is… Valueless objects would generate other organisations than objects that have a value, because with value come the question of ownership, market, prices,… with valueless objects might exist a completely free structure of exchange,… again both could exist.

The third question is about the societal impact of such a cultural shift – are we to assume that it signifies the total end of capitalism as we know it or is it the birth a parallel economy ?

And eventually the urban and architectural impact of this shift ?


Each choice will raise other set of interesting questions…

As for now, I would be interesting to conduct the project as a sort of argument/manifeste (not ‘o’). In this sens, i think that the projects needs to be constructed on the more radical choices in order to be provocative. Without necessarily ending being a dystopia which i want to avoid as much as i can. Not that i think the project has to be positive but i do want to question a situation more than project a futur. + waste treatment is a very present issue in current societies.

The book TOC is as follow (for now) :

Introduction (2 captions) : what ?

Current situations (5 caption) : explaining the constructed reality, unveil their always more precious agenda, faking the real, based on a cycle of production-consumption-wastes-recycling that is soon be full…

The accursed share (5 caption) : Presenting the accursed share, introducing the notion of value, fragments, products

More to come tomorrow + A3 book !

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TS Storyboard


Assembly Space






reserv-01 reserv-04


TS story board

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The continuous and disconnected

“Film is a search of a good composition”

-Mark Lewis

“Cameras can fly”

-Mark Lewis

More on the development of a set of views from the previous post. Trying to sketch out a sequence which will move back and forth between an aerial view of a model to ground views with different scales and places.

aerial -aerial

House VI in 1:1 scale with the tower of Barragan matching in the scene as a street lamp post –


Barragan appearing huge as desert / landscape monument – monument

The top of Barragan becomes a plinth for House VI as a model (in its MoMA context like in the book). Aldo Rossi on the left is another model on a plinth –  moma

Camera goes down along tower, revealing it is a monument along elevated highway – highway


Jonas Dahlberg like rotation (image in previous post) along the highway, revealing the 2001: A Space Odyssey fragment -kubrickBack to aerial – Highway pillars become legs of a table, and the Kubrick fragment turns into a small model


The installation of Jonas Dahlberg works great because it has a clear translation of rotation to linear movement. Basically I’m looking for my simple magical movement between the camera and the model –


Artboard 1



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As on observer  , the way you get sucked in  is quite strange, it’s not a quick process you are slowly dragged towards the hole  until you reach the point know as the event horizon : The point of no return where you suddenly disappear  and fade into nothingness.

The more you get closer to singularity, the more significant is the distant in gravitational pull. You body is stretched/ torn towards the singularly:



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the three Suns.

Here’s an illustration of the three suns in the figure 8 solar system.  I’ll tried running the maths on it , there’s quite a lot of error on it. 
Here’s the breakdown. 
There are 3 Suns ( Sun01, Sun02, Sun03 ) that move in a figure 8 solar system. and 3 planets ( M01, M02, M03 ) that orbits around the 3 Suns.
Did some animation on the figure 8 systems.. I manage to make the system work, hypothetically….. It’ll look something like the video below.

The gradient color shows the circumstellar habitable zones from the three suns. red = too hot, green = habitable, where earth lies. blue = a lil too cold.  Tried placing the planet to orbit in the green zones but shit just break loose. The gravity of the other suns will rip the planet apart when it gets close to it.  For now, i’m placing the 3 planets on the edge of the red zones. 

 I ran some calculation on the figure 8 simulation, Here’s some numebrs. =D
Mass                            5.32 moon  3.91E+23 kg
Radius                          9305 km
Density             0.116 g/cm3
Age                              5.03 G Years
Temperature                183 – 190c
Velocity                       40 – 140 km/s
Rotational Period         48.5days
Surface Gravity             0.116 m/s2
Escape Velocity 2.37 km/s
// Motion
Orbital Period              1.28 – 1.36 days
Rotational Period         48.5 days
Rotation Speed             14 m/s
// Materials
Iron                              4.38E+22 kg    11.2%              0.596moon
Silicate                         3.06E+22 kg    7.81%              0.416moon
Water                           4.05E+22 kg    10.4%              0.551moon
Hydrogen                     2.76E+23 kg    70.6%              3.76moon
// Magnetic Fields
Magnetic Field             0.191 Gauss
Magnetic Pole Angle    30
// Earth Similarity        0.242
Mass                            4.38 moon  3.22E+23 kg
Radius                          4761 km
Density             0.712 g/cm3
Age                              4.15 G Years
Temperature                194 – 198c
Velocity                       43 – 123 km/s
Rotational Period         58.5days
Surface Gravity             0.948 m/s2
Escape Velocity 3 km/s
// Motion
Orbital Period              1.1 – 1.24 days
Rotational Period         58.6 days
Rotation Speed             5.9 m/s
// Materials
Iron                              1.06E+23 kg    33.1%              1.45moon
Silicate                         7.95E+22 kg    24.7%              1.08moon
Water                           1.06E+23 kg    33.1%              1.45moon
Hydrogen                     2.96E+22 kg    9.2%                0.403moon
// Magnetic Fields
Magnetic Field             0.184 Gauss
Magnetic Pole Angle    80
// Earth Similarity        0.389
Mass                            4.49 moon  3.3E+23 kg
Radius                          5715 km
Density             0.422 g/cm3
Age                              4.50 G Years
Temperature                176 – 188c
Velocity                       34 – 105 km/s
Rotational Period         58.6days
Surface Gravity             0.422 m/s2
Escape Velocity 0.422 km/s
// Motion
Orbital Period              1.26 – 1.32 days
Rotational Period         58.6 days
Rotation Speed             7.09 m/s
// Materials
Iron                              7.92E+22 kg    24%                 1.08moon
Silicate                         1.12E+23 kg    33.8%              1.52moon
Water                           8.16E+22 kg    24.7%              1.11moon
Hydrogen                     5.76E+22 kg    17.4%              0.783moon
// Magnetic Fields
Magnetic Field             0.191 Gauss
Magnetic Pole Angle    0
// Earth Similarity        0.351
Well , according to the numbers, Life expectancy on the 3 planet is 0 % . It’s too hot for it ! unless the monsters can live in a hot climate of  177 – 200 + c .  =P



Here’s an interesting one!

The Sun Rise and Set from Planet M03. Cause of the figure 8 thingy. the 2 suns far away will lit the planet in a distance for a period of time while the sun that M03 is orbiting comes up every 2.5days. theres a split moment where the 3 suns set and it goes to complete darkness!
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Cameras can fly


While I’m still trying to figure out what is the landscape and how we view it, here is some procrastination with the more technical part of how it could be filmed.

Conceptual wipe-out of parts of the landscape not seen in film –


Zoom in from aerial to ground can maybe work like this with a physical model / wallpaper – sketchLooking at options for DIY camera tracks/motion – DSLR-font-b-Camera-b-font-Video-Mini-Car-Skater-for-Photograph-Rail-Rolling-font-bNew-Discoverycam-Mutifunctional-DSLR-Camera-Dolly-Track-Best-Slider-for-5D-mark-II-7D-Free-shipping





Or as the films of Mark Lewis (below), which are shot with a crane going up and down, am I to operate a baby crane…?


Mark Lewis’s film on The Minhocão, an elevated highway in Sao Paulo which has been partly closed to vehicles (48:50). The other videos in the lecture are also quite cool.

Spectre (James Bond) continuous opening shot

Jonas Dahlberg, Untitled (Horizontal Sliding), 2001

b5 Dahlberg_2

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Card Landscape wip



2017-02-06 19.27.40


Working on some watercolors to use as a backdrop for some of the cards. Yet to see where it’s going, but might be interesting to collage it with other types of graphic material.

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The super (heterogeneous) ground

I’m trying to develop the landscape which appears once the desert sand is washed away. As the sand disappears, the scaleless and placeless project is injected with many contradicting scales and places. The fragments (Barragan etc. which are all in this drawing) are placed on plateaus and they become anonymous inside this super heterogeneous landscape. Trying to make it read as a one continuous thing.

Thinking about the three mediums of the project –

Film – connects visually (with tools such as the named view, the wipe, and the motion cut). Place = vision / view

Book – connects through narrative. Place = what you say about it.

Model – locates the fragments. Place =


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Trinary Star System

0Been looking into the universe system. trying to create a realistic Trinary solar system that has 3 suns. I’m currently using Universe Sandbox to generate the simulation for it. 
Here’s two examples of a realistic trinary star system.
Decided to go for a figure-8 triple sun system.
Universe Sandbox ² - 20170207-024757 Video

EGDewAlso a reference from Natasha on the evolution of world and beasts. from the book Evolution: A Visual Record from Robert Clark.

111-alevin-lead 057 Cassowary clark-evo-og


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I found this mini Micromégas book this weekend in my messy drawer while looking for something else! Completely forgot that I bought this years ago- it’s definitely  featuring in a scene now … 

IMG_0373 IMG_0374 IMG_0375


I am currently working on scenes of Lisette going inside a black hole, will post the sequence shortly

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More on what i was writing in the previous post : (c is for caption)


c1 : The project is a conversation between the contemporary construction of realities and the junks and leftovers that these realities produces. It argues for a radical reverse of the process of production – consumption, from its more evident form to its more complex and deeper economic, politic, cultural and architectural implications. It argues for a shift, from the economy of the belief to junk economics. 

Photo : ?

c2: While Labour, shopping and tourism are now the standard product of cities, they have provided the sufficient infrastructure to generate a common feeling of belief. A belief in consumerism, in beautifully rendered and photoshopped images, in the economy of consumption, a belief of the new.

Photo : ?


c3:A belief that our near futur is fact the reality – we are prepared, framed, forced to do so: in fact our desire to believe is merged with our perception of reality. And in many aspect this reality is rendered perfect, precious, comfortable – a sort of lubricant for belief. 


c3: This desire of belief is spectacle : the everyday domestic, repetitive – often unpleasant tasks become a spectacle which we are prepared for. Before entering a theatre, one is already prepared to believe in what the play will do. A frame is set up (both mentally and physically), and the spectacle takes over facts. We just need to see in order to believe.

photo ?

II. Aesthetic

c2 : Wastes re-use is inscribed into the DNA of our modern society. Rather than following a circle like path, they follow a line where they function is continuously re-arrange.


c3 : There is a shift from a society of preciousness to a society which is rejecting the aesthetic of the new. Fragments and leftovers now have a utterly important social, political (almost religious) agenda. 

III. Further



c4 : Wastes now have their trading rates at the stock exchange

Photo ? Perhaps a machine fabricating fake waste ? or a camera and security cabin at the entrance of a waste treatment plant ?


c5: Wastes become products illegally sold on black market > even fabricated as fake entity

To be continued… More to come tomorrow.

>>> The narrative around which i am working on is meant to be a support to the work i am doing. i am still working on the drawing and the models [fragments > ensemble or wastes > reality].


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Landscape of the I – Orrery

Trying to mechanically figure out how to make a machine that moves items left and right on a circular track, rotates the item around its own axis and how to move the item up and down.

Therefore studying all kinds of mechanism and Orreries (models of planetary body movements).



ornamental detail inspiration

Also interested in incorporating mirror to extend space and transport objects into scenes. For some reason humans are still very bad at comprehending the concept of mirrors.

For instance: The following picture shows Venus looking at herself in a mirror peterpaulrubens_venus_at_a_mirrorPsych! If you can see her face, she can see…. yours.

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Research (or is it?)

I started this weekend doing some research on BIM, the problems and the impact on architecture.

The most important things I found are the following:

1. Expansion of Participation

2. Elimination of Abstraction

3. Absence of Intuitive Processes

3. Limits to Novel Construction Methods

4. Bias of Geometrical Forms





I also discovered this “tool”/platform, which I think is a lot worse than BIM software and I shall declare it my enemy. It is called Wikitecture, and it has created a lot of controversy online. (Check article below).6_aj-fake



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FACTory – Composed thoughts

FACTory: Where we build our worlds

(below some renders I’ve been trying out in a landscape program Nathan recommended called vue)


We approach an archipelago of stories; a landscape of narrative islands: the Telescape.

An event occurs. It lasts for some time. It begins and it ends. It has a place. It has a scale. It’s drawable, modellable and even tells a story.

Horrific events like Wars happened. Three Kings, Live from Baghdad, The Night Manager, Lessons of Darkness, CNN Live or Jarhead also happened . They claim their own islands in the global historic landscape we have constructed for events. Fact and fiction both aid the construction of the story.

An event broadcasts itself bigger than it is. An entire mythos is forever constructed around it; in our Telescapes this condition is maximised more than ever.


As we traverse 10 light years through time and space an entire broadcasting history leaves a weakened residue in places of which we can only see their past. The earth comes into view and our new digitised signals project silence. Our narrative landscapes are on exclusive bandwidths. More and more of us are looking inwards into the glassy planes of our screens.

We fall into a landscape, a building and a screen; Welcome to the FACTory. Inside the telescape we begin a mincing journey through narrative islands. The mash-up of fact and fiction could have never been so prolific and yet division reigns amidst the confusion of belief. Tribes of followers gather on each island preaching its dogmatic narrative. In the past ancients would pursue the sciences and worship the gods all at once; history and myth, facts and fiction had their islands but could coexist in the same archipelago.


We see glimpses of beauty as well as horror. One island prepares for the end of the world as an other celebrates peace and liberal freedom. News footage appears along side each island or is it footage from film?  We find ourselves in and out of screens in domestic interiors of varying tribal beliefs. And then we travel to landscapes where the consequences of our constructed narrative archipelagos are felt – revolutions for freedom with exuberant auras enabled by the Telescape, while elsewhere wars and pollution scour the earth.

Peruvian soldiers help remove mud from affected houses after a landslide in San Juan de Lurigancho distritct in Lima

Above, recent Peru floods after a severe drought thought to have been influenced by global warming

We find ourselves looking at all the stories compiled in a scroll, a finger swiping down the news feed almost endlessly.




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TS Progress – Story Board + panels

Quick update on my work –

1. As suggested, I have been storyboarding the TS booklet, figurig out what I need, what I should do etc. it doesn’t aims at being 100% accurate but at least guide me toward what I need to produce.

2017-02-06 15.07.38 2017-02-06 15.07.46 2017-02-06 15.07.532017-02-06 15.07.58


2. Also, some progress in few panels … starting my part 3 and 4.

Screen Shot 2017-02-06 at 15.27.30

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Capture-02 Capture.-1JPG

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Containing Vastness

Screenshot 2017-02-06 14.48.52 copy

I’ve started to see how i can encapsulate the feeling of vastness and infinity within the construct of the room. i feel that i could definitely channel in more reflections and mirrored surfaces that can perhaps push the idea of infinity or endlessly even further.

I’ve uploaded the first test of this condition. You can see it below

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