[.08] – THE PATIENT SEARCH & SKETCHING

A digital collage of select sketches done while spending my last semester abroad in Europe. (Spring 2019)

THE PATIENT SEARCH

Sketches in pen, ink, pencil, charcoal. Complete transparency; this is a huge internal struggle of mine: to accept and invite the imperfect as something that is, in fact, much better than perfect. There is no such thing. Growing into that thought process has been difficult while creatively liberating to say the least. The goal now is to view every bit of creation and investigation as an entirely additive, life-long process. The patient search.

(Select individual sketches to be uploaded soon)

This is one part to a much larger body of work/series of investigations that made up my masters thesis project during the 2018/2019 school year.

[.07] Thesis Exploration Spring Semester (2019) {2/2}

This antithesis challenges the current definition of university thesis through a speculative extension of the Grand Tour and Travel Journal. It does so via combining analogue and digital techniques which analyze and document a ‘reality’ of physical place while building familiarity of place. London is a black square, a new beginning; an enigmatic living city of complexities to grow familiar with through actively observing, participating, and documenting from within. This ever-growing documentation of perceived reality exists as a Wunderkammer of curious objects, events, and environments. This collection will begin to mimic or parallel London as a speculative NoPlace with particular events, inhabitants, edifices, and qualities.

Project documentation and representation exist both mechanically and digitally. Wunderkammer collection methods will include: pen, ink, pencil, photograph, video, film, animation, 3D models, text, and objects. Speculative methods of design utilize cut-ups, montage, collage, composites, and analytique in order to build a new familiarity of NoPlace.

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[1] Facade Nonaptych for an eventual NoPlace

Below are facade studies for a NoPlace. The construction of each facade mimics methods of familiarization and memory, or recollection via categorical similarity. These facades are created using a combination of software techniques, taking items from my Wunderkammer and flattening them in the two dimensional space of the digital screen. This flattening acts as a digital-aesthetic [de]-familiarization in order to offer new potential readings of place; the digital additive and subtractive squeegee and scraper of Richter. Items used to construct each facade drawing include: photographs, still-frames from video, hand sketches, software generated textures, and images from the internet.

Towers of NoPlace
Campus of NoPlace
Churches of NoPlace
Domiciles of NoPlace
Voids of NoPlace
Enigmatic Generators of NoPlace
Gardens of NoPlace

Grand Exchange of NoPlace
Towers of NoPlace

[.06] Thesis Exploration Fall Semester (2018) {1/2}

This page represents where I left off at the end of my fall semester thesis project (Fall 2018). Since then, I have been travelling following winter break, and am now in London doing my thesis abroad. The premise of the thesis has changed quite a bit, though I will still be using methods and techniques of creating that I had explored last semester with the below films/animations! More to come! Please look for: [.07] Thesis Exploration Spring Semester (2019) 2/2 –

CITY OF LONDON – Speculative Film of a Future London

Cedric Price – Fun Palace [Version 2]
(Architectural Precedent Study) (12/4/18 Final Mid-Year Review)

Exodus – Voluntary Prisoners of Architecture, Rem Koolhaas (Architectural Precedent Study)

Cedric Price – Fun Palace [Version 1] (Architectural Precedent Study)

Precedents & Premise: (subject to change) I am currently studying projects with a focused interest on social condensers and collective living through drawings, readings, animations, and renderings, looking to re-imagine the City of London in a ‘near-post-work’ future.  The era of physically located corporate towers of business have migrated to digital platforms, turning the city over as a field of vestiges of a dense corporate past to be consumed, re-imagined, and re-inhabited.  This takes root along the original path of the Londinium Wall, and utilizes an art of differences and delightful anxieties in order to test various potential architectural manifestations.  This looks to question the model of a city as is currently understood, and offer a projective scenario of what could be, breaching vital discussions of  individuality, masses, performance, freedom, utility, leisure, private, public, tradition, preservation, pleasure, ruins, past, and future, among other things.

My main medium of exploration will be the creation of moving images, animation and film.  This form of media embodies a “…further insight into the necessities governing our lives by its use of close-ups, by its accentuating of hidden details in familiar objects, and by its exploration of commonplace milieux through ingenious guidance of the camera; on the other hand, it manages to assure us of a vast and unsuspected field of action [Spielraum].” (Benjamin, Walter)  It embodies a sort-of bottom-up, Burroughs-collage spirit in means of production and conversation, which suits the desired architectural exploration. I began using moving image as means of narrative representation about a year and a half ago, and have been working towards a better understanding of the entire process of film-making and animation.

Software I am currently learning to produce visual content: Unreal Engine, Substance Painter, Substance Designer, ZBrush, Maya, Houdini.

Why the City of London?  I have the unique opportunity of taking my thesis studies abroad, combining a traditionally non-thesis travel opportunity with the rigor and curiosity required of thesis research and development.

As my understanding of the City of London grows, so will the visual-narrative representation of my thesis project.  I am looking to utilize on-site audio samples, photographs and film, as well as textures, in order to develop various representation.

[.05] 2018 Fairytales Architecture Competition Submission

 

 

 

Below is my narrative text submission which accompanies my 5 created images:

Is dawwk in here. Teddy you okay? …You okay buddy, you okay. Fishhhhh… laaaaamp… hawmaawwnicaaa… bawlooooons… biiiiiig biwdings… loooootsaa lights.  Mommyyy? Daddy?

 

 

I miss the river.  Addie splashing about.  We would pass the time plucking dandelions past their prime and setting them to the breeze.  Just the sounds of the air, Addie’s laughter… Dawson’s voice. It was truly heaven, leisure, and creation.  Together we could visit anything and anywhere, just us three. Paris, Rome, China, Netherlands, anywhere we have ever heard of, we just had to imagine it and the system helped us piece it together whether we had been there or not.  We could add, edit, and erase. Or, we could just lay about and take it all in.

 

I was there… I just. I don’t know anymore, I just don’t.  W-we, we were supposed to be free from it all Dawson! You promised, you promised!!  We sold it all, my god, we sold it all. It’s gone. Everything. The beds. The couch. The television. Our wedding rings. HAH! We, we nearly tore out the radiator to sell the copper and brass, but winter was nearly here.  They took our jobs. They took our money. All of it. But they wouldn’t say that, the Authors would never admit to anything that paints them a muddy picture of injustice absolute!  Dawson! Adelaide, Addie, you okay honey?  Can you hear me?!

 

 

Well, the only promises made were by the Authors.  I knew that we just couldn’t take it anymore. Well, I mean, I could have endured it all for Addie and Claire, but that’s not what Claire wanted.  I could see it in her eyes at the end of every day: hopelessness, defeat, shame, anxiety. It all ate away at her bit by bit; and it finally broke me, so I gave in.  I consented. We signed up and said goodbye to work, and jumped into the unknown, the system. It’s a type of consortium thing between Google, Apple, BP, Walmart, and a few others known as the Authors.  The neo-company I mean, umm what are they, uhh, neo-ste… no, no, that’s not right, umm well neo-STUPIDITY, that’s what! It doesn’t matter their name. I apologize, it’s easy to forget things in here. Nothing makes sense anymore, it’s all a blur, and I am slowly going insane.  It’s like the numb that you feel as you wake up after only an hour of sleep and hobble through the dark maze that is your house, to use the toilet. Memories mix with the present, with the past. Places we’ve seen, people we have met, events from our past, and new creations from our imagination, a fairytale gone sour, gone absolutely insane.  Time is not relative, it speeds up and slows down at random intervals. Feelings and emotions rush out just as fast as they rush in and become confused by hitting the physical existence of what is real, and passing through the digital mess that is Neo-System. They had promised us everything had been worked out and this was now a stable system capable of harvesting and hosting thousands for the beta-stages of the digital-physical world.  Pfft, “heaven on earth” my a- But in hindsight it all makes sense to me now. They target the middle class, harvesting not for the betterment of lives, the world, the future, but as a means of control. It HAS to be. With all of the socio-political unrest? It’s a mirage.

 

This is supposed to be the future where the machine takes over for man.  The machine provides all, and there is no work, no pain, no hunger or thirst, and no suffering.  A present halcyon, if you will. Hmm.. Holocene, Bon Iver, you know it? That plays over and over in my mind, fragmented and incomplete.  I just want to hear that play, just once more. There is no music in here, just the hollow ambience you hear while under water, or inside a racquetball court.  Except for the brief neuro-connections you can make with the ones you love. You can hear them, and they, you. If you’re lucky sometimes the system connects you for a few minutes, and you can talk. Sometimes.  I just spoke with Addie, she’s doing ok now, she has Teddy. I’m not sure, it has been a while since I have talked to Claire. It was different, you know? We used to have control. We used to have the ability to pull off the devices and return to reality.  We were even able to physically be together within the system itself, in beautiful paradisiacal places that seemed… normal, and then some. We had control of everything. But… the system malfunctions happened so quickly, that we got separated and trapped in here.  We can’t will ourselves to remove the devices, there is no connection or communication, and no way to contact others on the outside to warn them. Those who don’t hear from us, I suppose, figure we have just slipped off into the ultimate systems of the sublime. So we must wait, holding on for dear life to our sanity. There’s no escape.  Nothing.

 

 

So.  What have we got? Individual synapses and lines of communication are sporadic at best.  It seems the biological bond somehow ties the neurological make-up of the users into one integral, but unreliable system.  It doesn’t make much sense. But there is a hope and promise to stabilize the system. We initially believed that the best possible physical framework was a long continuous glass monument that would eventually span the globe.  A huge transparent never-ending physical network that would work to merge physical reality with the minds of all of it’s inhabitants, producing a state of constant creation and renewal, a world free from want, worry, work, or war.  This is where I believe we have gone wrong. The sheer magnitude of a system like this cannot withstand its own size and weight. You see, the system cannot take on the complexities of life and of the world from the dense cities, or epicenters of human existence.  Location is an issue. Team SDNE-739, our United States Midwest development division, has stumbled upon highly probable success. We are working to get the new framework developed and installed. I believe the solution lies in a separation and delineation between framework and system.

We have found that the system tends to work based on the place it inhabits.  So, we separate the system from the framework. We decrease the physical size of the framework, and instead modularize it via glass panels.  This will allow it to remain a monument that could eventually span the globe through additions. As far as the system is concerned, that is where Team SDNE-739 comes into play.  Through running many tests on various existing building types, they have finally found an architecture that will likely host the system perfectly. Water towers, grain silos, oil refineries, wind turbines, power plants, militant watch towers; they are the archetype of perfection in this scenario.  Banal architecture of utility, so often overlooked. The inherit meaning of utility and strength will only now serve to amplify our systems exponentially. The towers become the machines which do the work for us. Ultimately, their purpose has not changed, it has just been slightly modified. I was amazed really, these things we take for granted every day of our existence become our saving grace.  They scatter the globe, silhouettes disfigured by heat, line the horizon, almost as an ode to the ignorance of mankind. Hell, they’d probably scream poems of mockery if they had a mouth. Anyway, time will tell.

 

` Holocene `

[.04] Autonomous Ocean Architecture

 

A lone architecture that forever wanders the ocean, continuously processing sea waters.  Utilizing the cold which exists at the deepest depths of the ocean, this vessel harvests large amounts of sea water, analyzing it, processing it, and filtering impurities.  It collects all salts, minerals, and impurities within it’s monolithic vertical cylindrical storage units, and sends the purified water from these containers post-separation to an extruded cylinder cooling unit.  This unit prepares the water to be released into a final ringed pool in which the final freezing processes takes place.  Floating monoliths of ice are released at the end of the process, in a fleeting attempt to combat global warming and the melting polar ice-caps.

 

This architecture, too, is based off of initial studies done of Leonidov’s Architecture.