The cumulative effect of architecture during the last two centuries has been like that of a general lobotomy performed on society at large, obliterating vast areas of social experience. It is employed more and more as a preventive measure; an agency for peace, security and segregation which, by its very nature, limits the horizon of experience – reducing noise-transmissions, differentiating movement patterns, suppressing smells, stemming vandalism, cutting down the accumulation of dirt, impeding the spread of disease, veiling embarrassment, closeting indecency and abolishing the unnecessary; incidentally reducing daily life to a private shadow-play. But on the other side of this definition, there is surely another kind of architecture that would seek full play to the things that have been so carefully masked by its anti-type; an architecture arising out of deep fascination that draws people towards others; an architecture that recognises passion, carnality and sociality. The matrix of connected rooms might well be an integral feature of such buildings.
Robin Evans, Figures, Doors and Passages
After re-reading this essay over the the break, i started to consider a series of much more interesting conditions that could start to emerge in my project. Firstly, the idea of how an architecture that would break the boundaries of segregation or privacy and provide a new framework where perhaps, a series of more interesting spatial conditions and experiences may exist.
In my most recent animation, I attempted at doing this by exploring the continuity of a sequence of spaces placed one next to each other. This emerged as an interesting model that could portray the way we experience the city and its interiors through a very continuous model. I am now finding ways of exaggerating and emphasising some of these conditions even more by understanding the effects of how one space might influence the other. Through these findings, i believe that a clearer narrative for the film will emerge as i am already beginning to answer the question of “What is the Interior?”
Following the explorations of working with a film and animation, I also started to consider more mediums of how the enfilade could potentially be experienced. During the break, I started experimenting with virtual reality through my Oculus Rift DK2. This allowed me to immerse myself into the enfilade where i was able to walk around the sequence of spaces with an x-box controller. This ability to interact with the space is incredibly fascinating.
I don’t know where this might emerge at this point but its an interesting change to start seeing these spaces in VR.
Moving back a little to the model, I would definitely look into ways to explore the views im creating much more and how they relate back to narrative of the project and the mechanics of the film i am making.
I have also started laying out the white book more, with my research and work laid out in spreads. Im in the midst of finding a language for the book that will be effective and clear as to what i am currently doing. The main challenge here is how i start represent the film i made in the format of a book.
Im going to work on this more for now.
Overall, I am looking forward to how everything will emerge this term.