Final Film - The Construction of the Third Space Bank-Beckton

Design Development Document A3

DESIGN DEVELOPMENT DOCUMENT_Fizaa Esmail

Final A1 portfolio pages (Large Scale)

I will order these drawings by Phase type which corresponds with my development document, I am going to order them from most recent to oldest in the main portfolio. These are a selection of portfolio drawings which are to be large scale.

PHASE 11 _ THE CONSTRUCTION OF THE THIRD SPACE

BANK-BECKTON

“men can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. Karl Marx

Looking at the film as taken from a subjective experience of space, mapping the landscapes contained within a subjective experience of the commute, different emotional spaces along a journey, breaking out of the chaos of the real world into the third space where the utmost desires, dreams, and imaginatory thoughts come into play, it brings in the elements of the outside world the space which we inhabit, what we register, but is influenced by our persona & individual daze.
A new time-space, the city can be seen through a different place the third spaces. Psychoanalysis transforms into architectural expression, a mentally fabricated architecture.

'A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architectural expression becomes more and more urgent as all the reasons for becoming impassioned disappear.Everyone will live in their own personal “cathedral.” There will be rooms more conducive to dreams than any drug, and houses where one cannot help but love. Others will be irresistibly alluring to travelers. . . . 'Situationist international online

'The main activity of the inhabitants will be CONTINUOUS DRIFTING. The changing of landscapes from one hour to the next will result in total disorientation. . . .' Situationist international online

'in seeking a way out of the spiralling orbit becomes a vicious circle around a city reductively conceived as nothing other than a literally concrete entity, in seeking access to that other space of the concrete reality of dreams, to which psychoanalysis is attentive' (Burgin, 1996, p30)

 'fantasy is always opposed to reality.. reality is conceived as that which is external to our inner lives…we simultaneously inhabit two distinct and separate worlds. One is mental, private, 'internal.' The other is physical, public, external'  (Burgin, 1996,p29)

Final Film - The construction of the third space - Chronogram

Film Chronogram 01

Ledgend/Key to film chronogram 

Bank _ Platform Level

 Bank_ Settling Down

 

 Westferry_Newspaper Flicks

 

 Custom House_ Phone Focus

 

Beckton_ Stepping off

PHASE 09 _ THE MODERN PROMETHEUS

IMMERSING THE BODY INTO THE ENVIRONMENT

This phase of the project takes influence from the readings of Marry Shelleys Frankenstein and reflections from that on the architectural education, and how we see our world through knowladge of it. As a  student of architecture and also  working within the profession suffering such battles... the guilt over the process and sacrifices made for creation and life choices, alienating himself from the world, he lives in another dimension in a love hate battle....We only see the world the way in which we think we know it from within us your lived knowledge.'

Tabula rasa theory of knowledge and applied it to the way the creature attained to a 'knowing personhood. The creature plays out the Lockean theory to perfection by gaining all of his ideas from sensation or reflection, seeking or avoiding the causes of sensation according to weather they produce pleasure or pain….. 

 

PHASE 06 _NEURAL SCAPE

SPATIAL REPRESENTATIONS OF  THE CONSCIOUSNESS

Spatial environments from my direct response of the survey of the DLR. Taking the real(concrete) and abstraction (mental) breaking out of it into the human the internal, the individual. Looking at cognition and the brain, spatialising cognition within this space_the third space.Looking at subjectivity and identities within our everyday, a subjective understanding of the world around us.

‘It is a mistake to think that a painter works on a white surface... The painter has many things in his head, or around him, or in his studio. Now everything he has in his head or around him is already on the canvas, more or less virtually, more or less actually, before he begins his work... the painter does not have to cover a blank surface but rather would have to empty it out, clear it, clean it'
(Deleuze, 2005, p61)

‘Subjective space surrounds us like an envelope, like a second skin. The notions of in front and behind, of right and left are attached to it.’ Burgin

Neural Scape - Chronogram

External-Internal_ Entering the Meat

 

Dissecting Brain Matter _ Disconnection from Reality_ Evolution

Neural Scape - Therapy Space - Offload

Specification - Work Package 01- Materials & Workmanship

 

Brain Meat - Specification - Sliding Door

Fibers - Detailing - Threshold 

PHASE 05

NEURON ARCHITECTURE

How do our brains work? how to we map our locality in space how is information stored and used, how do we communicate this information.

What do we with the information we have. How do we think we perceive space. These concepts taken literally to form an architectural world formed through the eyes & maps of different people what we think we see.

PHASE 2 _ THE DLR 

TIME SPACE ANALYSIS

Mapping our locality on the earth, are we aware of our directional movement, speed & time? A notational system mapping our presence in space and time.

I am inside & then I am outside, how do we respond to this- an unspoken reaction? If my environment is unfamiliar is this a conscious thought? Is it a conscious awareness of my current surroundings or am I using what is imbedded in my unconscious mind,my nature, is it part of my biology & physical memory? Entering, departing both geographically and physically in person.

'A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it.'  Michel De Certeau - The practice of everyday life

DLR Space Time Analysis and Notation

PHASE 01 _ REPRESENTING MOTION

CHEMICAL BROTHERS STAR GUITAR

Relationship of the viewer to the moment- The
cross section of the eye how our eye translates the image to our brain via our optic nerve, orientation is blurred by the repetitive nature of the images and the altering of scale. I was interested in what is happening within the human , the viewer, the brain communication film-interpretation.

 The outside space moves into the train through the motion. The outside becomes the inside.

The Absence of bodies- The absence of bodies in the drawing within the train is deliberate , the film was created using a series of still images, the environment within the train is therefore calm, still & timeless there is no movement at the point in which the images were taken as the train is not actually moving, an illusion of it doing so has been created.

 Time at the point of capturing the
landscape is 0.00.00.00.
The atmosphere created by the film gives the

Final Film Edit Render

Progress on my film to date, I still need to work on the individual sequences more ( create more depth) and possibly add in data, and of course edit with audio...more editing...

Individual Scene Analysis Graphics Updated

I have decided to go with a combination of fill and vector based drawings for the real still abstracted, contains vectors bur readable

Playing with drawing graphic of the 'Real'

I am trying to improve on the graphic quality on my drawings of the real world in this one below I have used vector lines which are further abstracted to represent the real to begin to make the drawing feel as one, although using a different graphic in the film the drawing represents two worlds, the vector based real world and the abstracted third space, the abstraction of the vectors begins to merge the two

Ammended film edit chronogram

 

Individual Scene Analysis

  BANK_PLATFORM LEVEL

BANK_ SETTLING DOWN

 

  

 WESTFERRY_ NEWSPAPER FLICKS

CUSTOM HOUSE_PHONE FOCUS

 

Works in progress and still two more to follow.. after doing the film edit, these individual analysis have helped me communicate the film more effectively, have tried to use legends to show what I am doing where in the film together with a direct relationship to the outside world. 

Second Test animation, Bringing in the outside world_ real space

Still a lot to do I have not yet edited sound or replaced the scenes with the new ones which I am working on, this is a test composition showing elements of the outside world brought in. Update to follow.

Looking at the film as taken from a subjective experience of space, mapping the landscapes contained within a subjective experience of the commute, different emotional spaces along a journey, breaking out of the chaos of the real world into the third space where the utmost desires, dreams, and imaginatory thoughts come into play, it brings in the elements of the outside world the space which we inhabit, what we register, but is influenced by our persona & individual life experience...

I am still thinking about this......

Some research _ I have been looking into formulary for a new urbanism.. where..

 'All cities are geological. You can’t take three steps without encountering ghosts bearing all the prestige of their legends. We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.

These dated images retain a small catalyzing power, but it is almost impossible to use them in a symbolic urbanism without rejuvenating them by giving them a new meaning. Our imaginations, haunted by the old archetypes, have remained far behind the sophistication of the machines. The various attempts to integrate modern science into new myths remain inadequate. Meanwhile abstraction has invaded all the arts, contemporary architecture in particular. Pure plasticity, inanimate and storyless, soothes the eye. Elsewhere other fragmentary beauties can be found — while the promised land of new syntheses continually recedes into the distance. Everyone wavers between the emotionally still-alive past and the already dead future.

This new vision of time and space, which will be the theoretical basis of future constructions, is still imprecise and will remain so until experimentation with patterns of behavior has taken place in cities specifically established for this purpose, cities assembling — in addition to the facilities necessary for basic comfort and security — buildings charged with evocative power, symbolic edifices representing desires, forces and events, past, present and to come. A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architectural expression becomes more and more urgent as all the reasons for becoming impassioned disappear.
Everyone will live in their own personal “cathedral.” There will be rooms more conducive to dreams than any drug, and houses where one cannot help but love. Others will be irresistibly alluring to travelers. . . .

The main activity of the inhabitants will be CONTINUOUS DRIFTING. The changing of landscapes from one hour to the next will result in total disorientation. . . .
Later, as the gestures inevitably grow stale, this drifting [dérive] will partially leave the realm of direct experience for that of representation. . . . '
All the above has been taken from http://www.cddc.vt.edu/sionline/presitu/formulary.html, the situationist international online, Formulary for a new urbanism 

Find out more at http://www.cddc.vt.edu/sionline/presitu/formulary.html

'Debord created The Naked City, which goes some way towards illustrating the Situationist understanding of psychogeography. The work consists of a map of Paris that has been cut up and reassembled, not in accordance with the representation of the physical terrain, but according to ‘unities of ambiance’

The Naked City presents with us a radically subjective reading of the city, and in the process subverts the claims to objectivity made by conventional maps. The ‘gods-eye-view’ with which the ordinary map of Paris presents its user is an abstraction that excels at schematising geography, yet effaces the experience of the city as it is perceived at ground level. Or, to put it another way, it is very good at telling its users where they are going, but is near-useless at telling them what it will be like when they get there. Debord’s map inverts this hierarchy and reasserts the primacy of the city as it is experienced rather than as it is abstracted, its poetic possibility over its utility

how could one express the nature of the experience of dérive in a way which was not merely self-expression, that is, art?'

The above has been taken from Transforming psychogeography:from Paris to London

Find out more at  http://walled-city.net/

 

Colour Space_ differentiation in emotional spaces. the spectrum of life, and depth of field

Testing differences in spaces

Approach & Settling Down_Oranges & Reds

 Newspaper flicks_Greens/Pink

 Phone Focus_ The Blues

 

Stepping off_ Purple

 

Mapping the real world elements represented in the film (Process of constructing the third space)

Chronogram Updated

Chronogram In Progress

Mapping the construction of the 'third space' - still a work in progress notations of depth of space, time, density, movment, focus, sound, smell etc all yet to be added.. will update soon  with a full description of the analysis within the drawing & film

Testing multiple screens

Chronogram - The Modern Prometheus

The Modern Prometheus -  Please scroll across to view whole image

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Our bodily landscape is one of the most least understood. How can we ever understand our bodies, our minds, our consciousness and our reality? 

‘Tabula rasa theory of knowledge and applied it to the way the creature attained to a ‘knowing personhood. The creature plays out the lockean theory to perfection by gaining all of his ideas from sensation or reflection, seeking or avoiding the causes of sensation according to weather they produce pleasure or pain….. 

‘it is with considerable difficulty that I remember the original era of my being; all the events of that period appear confused and indistinct. A strange multiplicity of sensations seized me , and I saw, felt, heard and smelt at the same time; and it was indeed a long time before I learned to distinguish between the operations of my various senses. By degrees I remember a stronger light pressed upon my nerves, so that I was obliged to shut my eyes’ (Shelly)

The Chronogram attempts to express the immersion into multiple spaces at multiple scales, a mentally fabricated  architecture where the body becomes the drawing and the drawing is and forms the body. I have tried to show camera movment and progress as well as create a fluid image that expresses the project and its development. 

Test Anamatic & Body- Drawing further

Test Anamatic


 

Combination test edit

Still a work in progress, I am not happy with sound or quality and colour space ( can all be worked on), but experimenting with the combination of different environments not sure if this is what I want to do yet..  still need to experiment with a split screen

Test anamatic

Test

Drawing Becomes Body- Test

Here are some stills from the latest test I am doing Anamatic to follow..

 

Process..