DESIGN DEVELOPMENT DOCUMENT

DESIGN DEVELOPMENT DOCUMENT
PORTFOLIO SUBMISSION FIzaa Esmail PT Yr 3- Unit 15

Nic Clear- Simon Withers- Mike Aling
We share the external world but our experience is internal.I am inside.. I am outside.. Cognition to explore spatial organisation, representation of our consciousness through spatial means. When architecture stops being about the physical space, stops being material, a mentally fabricated architecture- is this therapy? There is something at work in my soul which I do not understand- Captin Walton, in Frankenstein
CONTENTS PHASE 01 PHASE 02 PHASE 03
PROJECT 01 : CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM
PROJECT 02 : SPACE TIME DLR PROCESS
EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK
PHASE 04
SPACE TIME FILM CHRONOGRAM
PHASE 05
PHASE 06
PHASE 07
SPACE TIME :PROCESS
CREATING SPATIAL ENVIRONMENTS_MIND SCAPES
THESIS PROCESS
CONTENTS
CONTENTS
CONTENTS Cont.. PHASE 08
INTERIM PORTFOLIO
PHASE 09
PHASE 10
IMMERSING THE BODY INTO THE ENVIRONMENT
THESIS
PHASE 11 PHASE 11
FINAL FILM ANALYSIS
FINAL FILM ANALYSIS
FINAL FILM DRAWINGS & ANIMATIONS
CONTENTS Cont...
ABSTRACT
This Document shows the development of my work throughout the year, It will be used for my own reference and reflection throughout the year. The document incorporates drawings which were produced and revised over the course of the year showing progression of design both thematically & technically. This document should be read in conjunction with the large format drawings, research document & thesis produced as part of the portfolio.
ABSTRACT
ABSTRACT
PROJECT 01 CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM
PROJECT 01 CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM
PHASE 01
PHASE 01 REPRESENTING MOVEMENT THROUGH A BRIEF
The drawing attempts to represent the lm by Chemical Brothers star guitar From slowing the lm down it is evident that the lm was created with a series of still images set in a sequence and then repeated and layered. The strip on the right of the drawing represents this repition of sequence repeat together with the cameras drawn in plan. 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 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 lm 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 lm gives the feeling of chaotic disorientation and movement; the opposite to how still a still camera is when taking a photograph. Objects are synced with sound as they form the landscape. Representing motion through using light & DarkLandscape in the drawing has been drawn using charcoal shadow lines & sight lines. When the light hits the landmarks, resulting in shadow it forms the landscape as it moves through time.
PHASE 01 REPRESENTING MOVEMENT THROUGH A BRIEF
PROJECT 01 CHEMICAL BROTHERS PROCESS- CHRONOGRAM 01
PROJECT 01 CHEMICAL BROTHERS PROCESS- CHRONOGRAM 01
PHASE 02 SITE SURVEY & SPACE TIME ANALYSIS
CD_ PHASE 02 DLR INITIAL SURVEY_ FIRST ATTEMPTS OF FILM REPRESENTING TIME -SPACE
PHASE 02 SITE SURVEY & SPACE TIME ANALYSIS
PHASE 02
PROJECT 02 SPACE TIME DLR CHRONOGRAM
PROJECT 02 SPACE TIME DLR CHRONOGRAM
SPACE TIME DLR- MAPPING INITIAL OBSERVATIONS & ANALYSIS
I started with the coordinate- Mapping our locality on the earth, are we aware of our directional movement, speed & 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.
SPACE TIME DLR- MAPPING INITIAL OBSERVATIONS & ANALYSIS
PROJECT 02- TIME SPACE ANALYSIS & PROCESS

My first attempt at a film- A work that was in progress, recording the DLR thematically & representationally '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 Interested in our awareness of our bodies in space and our awareness of our surroundings/locality & how we experience the world around us both through body & mind. How do we measure the mind body connections? Your feet, why are we aware of them on a train?Stepping on, stepping off, standing still sitting down. Is it because our feet aid in our balance when we move or is it because our feet touch the ground and collide with solid matter? Or is it that we are simply looking down connecting our bodys location with our mind? 51 30 44.64 N, 0 2 22.92 W 5:55.50 PM.......A flood of bodies from all walks of life appear each to their own with their own background, culture, knowledge base & experiences. All beings become aware of their breathing, sense of smell and owns body in space, where is my hand how should I stand...? 60 seconds pass the push & throw......25 second stop....
The disorientating effect of unpredictable events make me loose my awareness of self. One moment its still silent, the next overwhelming with events, colliding bodies and the space is transformed into a space made by the beings & movement of bodies. Is our experience therefore purely instinctive & primal? Something which our bodies inherit and learn over time, a knowledge base that is biologically stored? Is there therefore no norm of representation, as communication happens instinctively, is our perception measured by what we hold within ourselves rather than the fact of position & orientation? How do we represent our architecture to reach this level of instinctive communication? Can we create an experience that builds our knowledge base connecting the architecture with the user.. like a language? especially since all beings are individuals but are we really? ..... The feeling is the same... how can we be certain??
Tada Rasa- Clean Slate (Audio By Avro Part) Based on a theory that individuals are born with out built in mental content, knowledge comes from our experience. Avro part quotes 'it is like that magic experience when you speak to someone in a language they don't speak but they understand all you say... Communication happens on another level, somehow we all are one... Although musically from different worlds the feeling is the same, the desire is the same it is as if we are on different trains but going to the same destination.'
I am inside, I am outside The culture and society in which we live inevitably influences the way in which we experience things, our brains build connections by what we see what we learn and what we lead ourselves to believe or what we are lead to believe. It is factual biological seemingly connecting to the global facts of location, time, actuality.
PHASE 03_EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK PHASE 02
PHASE 03_EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

I am inside, I am outside The culture and society in which we live inevitably influences the way in which we experience things, our brains build connections by what we see what we learn and what we lead ourselves to believe or what we are lead to believe. It is factual biological seemingly connecting to the global facts of location, time, actuality.
How do we think we perceive space? How do we create our cognitive map of our surroundings and environment? Is this connected to our social staus, gender, age, race, culture & background, knowledge base and educational background were we come from? what of the biological human process that occurs within the brain? Is it therefore different for everyone or is there a control of the same? Am interested in the idea of our perception being biological & instinctive something we learn and develop instinctively over time ,through practice knowledge base and experience. Our awareness of self & being able to be self aware based on what we tell ourselves how we train ourselves so we have connections inbuilt within us. Being in an external reality, the factual but internally experiencing the moment. Have been looking at how the brain works, the connections it forms when it becomes better at it - Like how you learn to walk , you fall down first time but biologically you train your brain to learn it then becomes an unconscious action you do it instinctively The brain - consciousness where does it come from??
PHASE 03
SPACE TIME CHRONOGRAM 01
PHASE 04 INTERVIEW_ OUTSIDE_INSIDE_ THEME DEVELOPMENT

Process; After thinking of what I wanted to do i went back on the DLR retaking footage and interviewing people on the train recording their thoughts namely asking what are you thinking rite now.. trying to think about what was going through their minds trying to understand what they were aware of in that moment We share the external space but have an internal experience From my interviewing I found that people who I saw to be of english origin had comments such as Im not thinking of anything, Im reading my twitter, What hospital have I got to get to My dog iv left him at home, I dont have a phone Im thinking of where I am going.. shopping canary wharf Followed by a questioning of what I was doing followed by their ideas of architecture in London.. a very practical level Others from elsewhere on the train were saying I dont speak English very well, Im hungry Im thinking of going away.. going to Barcelona Should I move my bag if someone comes? A larger sample would obviously need to be taken to make such assumptions but could this show connections between our society and our knowledge base, background and experience I remade a film which looks at the inside and the outside, voiceover of peoples thoughts and consciousness jumping from one to the other together with my own over in places taking the camera inside the human brain how its working at a particular time the connections it may be making, with the coordinates factual, zooming into the body and going back out again
CD_ PHASE 04 DLR ANALYSIS_ OUTSIDE-INSIDE FILM,
PHASE 04 INTERVIEW_ OUTSIDE_INSIDE
PHASE 04
VOICE_PEOPLE
PHASE 05 _LOOKING INTO THE HUMAN BRAIN
LOKING INSIDE THE HUMAN BRAIN 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. I drew a neuron understanding that communication is done through chemical impulses. To incorporate these ideas into the film I wanted to put the 2d into a 3dimensional space going inside the mind of the human seeing the connections formed, I did this by testing the teqniques in after effects also showing the light as transfer between information the chemical impulses within our brains. I overlay the mapping as it is in the brain where this information is translated and action is then formed.
PHASE 05 _LOOKING INTO THE HUMAN BRAIN
PHASE 05
SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE
LOKING INSIDE THE HUMAN BRAIN CLOSER How we communicate information and what we do 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.
SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE
PHASE 06 CREATING SPATIAL ENVIRONMENTS THROUGH ANALYZING THE HUMAN BEING & MIND SCAPES
Tapping into the other space, the third space, I began to construct 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. CD_ PHASE 06 DLR 3 D VIRTUAL ENVIRONMENTS TESTS SPATIAL REPRESENTATIONS OF DIRECT RESPONSES TO DLR & THE EVERYDAY REALITY EMOTIONAL SPACES & TESTS 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,V 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) Commuting is interesting and important for another reason, too. It was a new kind of time in the day: an interstitial mental space between home life and work. Companies such as Starbucks talk about, and try to position themselves in, what they call the "third place", between work and home. Commuting can be a mental form of "third place". It can be when people get some of their most sustained reading or thinking done, their most extended daily period of introspection or of listening to music. (Lanchester, 2013) I gave all the final drawings titles, those which reflected on my thoughts within the real and the third space.. relative to my working life subconsciously thinking of them whilst creating the environments. At this time specifically a working package.
PHASE 06
SPACE CHRONOGRAMTIME FILM -PROCESS NEURAL RELATIVE SCAPETO 01 THEMES- THE NEURON ARCHITECTURE
NEURAL SCAPETO 01 SPACECHRONOGRAMTIME FILM -PROCESS RELATIVE THEMES- THE NEURON ARCHITECTURE
SPACE TIME FILM -PROCESS RELATIVE TO CHRONOGRAM- NEURAL SCAPE 02 THEMES- THE NEURON ARCHITECTURE
SPACECHRONOGRAMTIME FILM -PROCESS RELATIVE NEURAL SCAPETO 02 THEMES- THE NEURON ARCHITECTURE
DESIGN DEVELOPMENT MIND THERAPY SPACE
Struggling to understand yourself or place yourself? do you know what you want your world to be? what do you know your world to be? Why fear why worry why have emotion.... ? What makes you you?? what is your reality? Does it even matter?? This is my therapy space.... offload into a new architecture.... a mentally formed space.....disconnect yourself from the everyday.... but can you really?
DESIGN DEVELOPMENT MIND THERAPY SPACE
NEURON WORLD- INITIAL HAND DRAWING COMPOSITION & LAYERING
THE WORLD WAS CREATED BY INITIALLY HAND DRAWING AND COMPOSING IT, I WAS TRYING TO SPATIALISE THE FORMS, SOMEHOW CREATE A 3 DIMENSIONAL LANDSCAPE. IN ORDER TO GIVE THE DRAWING A VAST AMOUNT OF DEPTH LAYERING WAS USED WHERE EVERY COMPONENT IN FROMT OF THE NEXT IS A SEPARATE LAYER IN PHOTOSHOP. The hand drawing gave me the freedom to think with out the constrains of the computer, however it lacked crispness of line and I was constantly struggling with quality.
NEURON WORLD- INITIAL HAND DRAWING COMPOSITION & LAYERING
NEURON WORLD- PROCESS TRACE & LAYERS
NEURON WORLD- PROCESS TRACE & LAYERS
NEURON WORLD- TEXTURE, LAYER & EMBOSS
NEURON WORLD- TEXTURE, LAYER & EMBOSS
NEURON WORLD 3D LAYERING IN AFTER EFFECTS
To create the 3 dimension depth in after effects i further imported the layers from photoshop after texturing and tracing and made them into 3d layers, i then used depth of eld and moved the camera through the space making it seem like a 3d world, 3d layers consisted of both tracings and texturing, followed by background meat.
NEURON WORLD 3D LAYERING IN AFTER EFFECTS
NEURON WORLD CREATING LIGHT SOURCE & PATH USING NULL OBJECT
I needed a light source which would serve as information processing, this light source needed to lightly glow- created in after effects and applied with colour curves, using opacity and paths linked to null objects to give it the path which it moved in after effects, key frames to change the size & glow effect. I then created additional light sources in after effects to create further depth of elds and ambience to the animation- zooming in and out of the overall world moving through the space- I struggled with camera movement but tried to make it subtlesound would be used later to amplify the feel of the neuron world.
NEURON WORLD CREATING LIGHT SOURCE & PATH USING NULL OBJECT
EXTERNAL- INTERNAL:ENTERING THE MEAT
Have you ever found yourself watching people? Ever wondered why you think about something when you are in a certain place? What makes us think, decide, worry, feel or just stare into space? What is your reality? where do you place yourself? The everyday-the robotics of our external shared environment, but our self is internal within our bodies how you feel comes from within yourself, however does it not originate from external experience, knowledge gathering, background, identity... what we think to be true... what we think we know (the everyday), how do you construct your reality? "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
EXTERNAL-INTERNAL:ENTERING THE MEAT
EXTERNAL-INTERNAL: PROCESS - INITIAL HAND DRAWINGS
EXTERNAL- INTERNAL: PROCESS - INITIAL HAND DRAWINGS
EXTERNAL-INTERNAL:ENTERING THE MEAT- PROCESS
07 SPACE EXTERNAL-INTERNAL:ENTERING TIME FILM -PROCESS RELATIVE THE TO THEMES- THE NEURON ARCHITECTURE MEAT-PROCESS
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY
It was like I was in an elevator & the cables were cut- David Lynch
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS & NOTES
DISSECTING BRAIN MATTER: DISCONNECTION FROMRELATIVE REALITY: 07 SPACE TIME FILM -PROCESS PROCESS & NOTES TO THEMES- THE NEURON ARCHITECTURE
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- TRACE TEXTURE & EMBOSS
Further texturing and embossing in photoshop, using colour in the texture to create depth and light sheen, working on clarity & quality, higher resolution to attain the crispness of the image.
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- TRACE TEXTURE & EMBOSS
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING TESTS
3d layering testing in after effects, all components imported into after effects as photoshop layers and put into 3d pace- experimenting with masks and key frames to produce the growing & evolution.
Test light source in after effects, I wanted something that would icker and glow coming from behind, giving a sort of uid feel, this proved to be too complex but a good light source, the forms within it were unnecessary
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING TESTS
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING
I wanted the light source to be internal coming internally from the world, I tried to use the light I had created which flickered within my composition to amplify the depth but it seemed too complex in how i had created it, I went on to mask the light to get rid of over complicated forms detracting from the space but I used the light as an internal light source reflecting off other objects. a particle only exists in relationship to other particles- we only therefore exist in relationship to one another
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: TRAPCODE FORM-LIQUID EVOLUTION
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: TRAPCODE FORM-LIQUID EVOLUTION
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: ANIMATION PROCESS- EVOLUTION
evolution's proclamation, and so it was that all creatures, from honeybees to humans, came to see the world not as it is, but as was most useful. This uncomfortable place--where what an organism's brain sees diverges from what is actually out there Beau Lotto
DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: ANIMATION PROCESS- EVOLUTION
07 SPACE TIME FILM -PROCESS RELATIVE DISSECTING MATTER: DISCONNECTION FROM TO BRAIN THEMESTHE NEURON ARCHITECTURE REALITY: ANIMATION PROCESS- EVOLUTION
Recent Brain imaging studies have shown the processing of realistic objects takes place in different parts of the brain than the processing of abstract objects Processing and the interpretation of the image are two different concepts, much research has been done in the mechanisms, locations and stimuli but little on interpretation and the neurological evolutions of our brains. Is interpretation down to evolution of what we know and are we designed to not know everything, designed to evolve counter towards understanding our interpretation, free will & that something else?
DISSECTING MATTER: DISCONNECTION FROM 07 BRAIN SPACE TIME FILM -PROCESS RELATIVE REALITY: ANIMATION PROCESSEVOLUTION TO THEMESTHE NEURON ARCHITECTURE
NEURON WORLD WORK PACKAGE 01 OVERVIEW- MATERIALS & WORKMANSHIP
When I placed my head on the pillow I did not sleep, nor could I be said to think, my imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vividness far beyond the unusual bounds of reverie. .I saw- with shut eyes, but acute mental vision- I saw (Shelley)
BRAIN MEAT- SPECIFICATION-SLIDING DOOR
07 SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE
fantasy is always opposed to reality.. reality is conceived as that which is external to our inner liveswe simultaneously inhabit two distinct and separate worlds. One is mental, private, internal. The other is physical, public, external (Burgin)
BRAIN MEAT- SPECIFICATION-SLIDING DOOR
BRAIN MEAT- DETAILING- HEAD DETAIL
What liberates is the knowledge of who we were,what we become;where we were where into we have been thrown;where to we speed, wherefrom we redeemed; what birth is, and what rebirth. ( Shelley)
BRAIN MEAT- DETAILING- HEAD DETAIL
BRAIN MEAT- SPECIFICATION- JAMB DETAIL
our enquiry has lead us to the heart of beingthe concrete can only be the synthetic totality of which consciousness, like phenomenon only constitutes moments. The concrete is man within the world in that specific union of man.(Satre)
BRAIN MEAT- SPECIFICATION- JAMB DETAIL
FIBERS - DETAILING- THRESHOLD
The judgments we make the choices we make what gives you free will to see what you want? If the brain sees what is useful to it as learned from experience then what you see is a fabrication of your baggage unconsciously. Is it just meat or is there something else much more beautiful to it allbrain meat or something else? Stepping through over the level threshold and making that choice through an act of free will.
FIBERS- DETAILING- THRESHOLD
FIBERS - DETAILING- CILL
I pose a question, this question I can consider objectively as it matters little weather the questioner is myself or the reader who reads my work and is questioning alongside me.. this being which we question we question about something. (Satre) Does my educational background influence the way I see the world, my experiences that has resulted in a continuous questioning of what it is we know. The discipline of architecture, so vast and diverse constantly producing and working towards a goal, a goal where there will never be enough knowledgewe will never know enough. Never reach the knowing ness. My dilemma could be based on my immigration, where I come from, where I have been in conjunction to what I think I know of 3dimensional space. Am I just displaced waiting for a break through set free of confusion from my education & background trying to understand too much of consciousness and know..know..know.. why do we pose the question..
FIBERS- DETAILING- CILL
FIBERS - DETAILING- SEALANT
FIBERS- DETAILING- SEALANT
FIBERS - DETAILING- DRIP
FIBERS- DETAILING- DRIP
PHASE 07 THESIS DEVELOPMENT
As part of the development of my thesis I incorporated my design work to better understand both the thesis and my project. These enquiries which i make about life about seeing, being in space, and the concrete everydayness were all developing in the thesis. The drawings I produced were a response to the way in which I perceived the imaginations of space,another time space, the daze the outbreak into the unchaos of the world.My design project formed part of my thesis development as a result. I soon came to realise that my thesis was about subjective experiences in space the third space, the synthesis between the abstract and the real, where our most inner thoughts come into play, a process of production was a chaotic oor studio space. A process that represents the chaos which is embedded within our daily lives. I worked in a chaos of oor space studio, working with references, drawings and text. After alll human life is highly chaotic and ambiguous and the elements of such life were to be discovered further through the chaos of mixing different methods of design, knowledge and understanding. See thesis & methodology statement.
PHASE 07 THESIS DEVELOPMENT
PHASE 07_ THESIS DEVELOPMENT
PHASE 07_ THESIS DEVELOPMENT
PHASE 07
THESIS DEVELOPMENT
THESIS DEVELOPMENT
THESIS DEVELOPMENT
THESIS DEVELOPMENT
THESIS DEVELOPMENT
THESIS DEVELOPMENT
THESIS DEVELOPMENT
THESIS DEVELOPMENT
NOTEBOOK EVOLUTION- MIND SPACE
NOTEBOOK EVOLUTION- MIND SPACE
PHASE 08 INTERIM PORTFOLIO ANIMATIONS & FEEDBACK
CD_ PHASE 08 NEURAL SCAPE_ INTERIM PORTFOLIO ANIMATIONS
PHASE 08 INTERIM PORTFOLIO ANIMATIONS & FEEDBACK PHASE 08
INTERIM PORTFOLIO ANIMATION PROCESS TRIPTYCH
INTERIM PORTFOLIO ANIMATION PROCESS TRIPTYCH
NEXT STEPS- MOVING FORWARD
Brain tissue as a time machine- how do we evolve our neurons? Can we immerse the body into this space- how do the forms respond to the body & movement? How will I bring this world to life within the city and integrate it onto thesis research? These are all questions which will form the next stage of the project, both through animation , research and drawing.
NEXT STEPS- MOVING FORWARD
PHASE 09 IMMERSING THE BODY INTO THE ENVIRONMENT & THE MODERN PROMETHEUS
Reecting on the interim portfolio submission I needed to nd a way to immerse the body into the environment, as a test. After reading Mary shelley frankenstein I found similarities in the way in which she narrates the story through the characters and our perceptions of life and space, through our lived. The words in the text express the emotions withheld within the beings of both the creature and the creator. How they perceived space is down to life as they know it as they see it. I related this phase of the project to our architectural education and how we as students of architecture and also those within the working profession suffer such battles... I personally managed to connect with frankenstein, his guilt over his creation and life choices which led him there alienating himself from the world, he lives in another dimension in a love hate battle....
My internal being was in a state of insurrection and turmoil; I felt that order would thence arise, but I had no power to produce it. ( Shelley,1818,p49)
CD_ PHASE 09 IMMERSING THE BODY INTO THE ENVIRONMENT & THE MODERN PROMETHEUS VOICE OVER
Our imaginations of what we want are what drives us but once we get there are we dissatised by the results, our creations, our creatures, our frankensteins, that which haunt us in our everyday. the ambitions and the desire to acquire knowledge, painful as it may be it is what drives us. The need for survival but how do you break out of this chaos? If the three dimensional constructions of space come from within the third space the internal environment then it is placed within the body, as a way to move the project forward i tried to incorporate the body into the environment.
PHASE 09
CHRONOGRAM ATTEMPT COMMUNICATING DIFFERENT SPATIAL ENVIRONMENTS COMBINED
MAPPING CAMERA MOTION THROUGH THE FILM, UNDERSTANDING MOTION IN RELATION TO NARRATIVE
IMMERSING THE BODY INTO THE ENVIRONMENT_ PROCESS _ GREEN SCREENING
The living room green screen set up, as a part time student i was unable to use the studio and therefore set up a green screen in my living room to play with keying and immersing the body and body parts into the environment.
IMMERSING THE BODY INTO THE ENVIRONMENT_PROCESS GREEN SCREENING
IMMERSING THE BODY INTO THE ENVIRONMENT_PROCESS_ GREEN SCREENING
As a test i tried to immerse myself into the environment, to do this i bought a green screen and tested through lming moving footage of myself trying to immerse the body into the space, where drawing becomes body, self is constructed out of the third space, the spatial formations comes from self, limbs distorted within the drawing so the drawing becomes the body.
IMMERSING THE BODY INTO THE ENVIRONMENT_PROCESS_ GREEN SCREENING
IMMERSING THE BODY INTO THE ENVIRONMENT_GREEN SCREENING
After keying out the green screen i immersed the footage into three dimensional space in after effects, I used the body where suited resembling the forms of the scapes. I went on thereafter to add in sound voiceover of narrative taken from frankenstein as test anamatics.
Spaces where limbs become the drawing, drawing becomes the body. In an attempt to tap into the internal the space id formed from within the body.
BODY BECOMES SPACE/DRAWING_ PROCESS
Stuck in the chaos of the world reaching into the meat... To form this space i used initial hand drawings and layered them in after effects, combined moving footage with lighting effects and brain meat...
BODY BECOMES SPACE/DRAWING_ PROCESS
FRANKENSTEIN_THE MODERN PROMETHEUS
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 (Shelley) The tests and chronogram within this phase 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 movement and progress as well as create a fluid image that expresses the project and its development.
FRANKENSTEIN_THE MODERN PROMETHEUS
ABSTRACT EXPRESSIONISM
Francis Bacon
COMBINED ENVIRONMENT TESTS
COMBINED ENVIRONMENT TESTS
TESTING SPLIT SCREENS
TESTING SPLIT SCREENS
PHASE 10 THESIS
CD_ PHASE 10 THESIS
The thesis, written from a subjective point of view, uses myself as a reference point exploring enquiry and theory through the form of a written narrative. A self reective method of analysis, using myself as a subject, to uncover some truth behind what is being investigated that which is useful to oneself. The form of the thesis takes precedent form the way in which we think, structure and develop within our everyday lives looking at the practical (formal,published _ schedule of works) which sets out the parameters, to the mental(visual images) to the subjective or the third (the thinking and experience_ hand written narrative reecting on theory & enquiry).Thinking is circular not linear and a narrative develops thinking, the nal product, a journal a personal document compiled through a subjective experience.
All people experience space & construct their own reality in a way which reects their person, the subject I .This thesis aims to take you through a journey of particular subjective enquiries contained within that which we call the third space . It is the space between the practical/physical & the mental space (what Henri Lefebvre calls the social & Edward Soja refers to as the third-how one may experience space). Enquiries focus on subjective issues that arise within this space making us read the world around us and construct our reality in a certain way. What can we say about the world around us, reecting on the differences in how we have knowledge of the world from a subjective point of view.
PHASE 10 THESIS PHASE 10
FINAL THESIS DOCUMENT
THESIS PROCESS_MEMOIR SUBJECTIVE WRITING TESTS
CD_ PHASE 11 FINAL ANIMATION THE CONSTRUCTION OF THE THIRD SPACE BANKBECKTON & ANIMATION TESTS & PROCESS
'Commuting is interesting and important. It was a new kind of time in the day: an interstitial mental space between home life and work. Commuting can be a mental form of "third place". It can be when people get some of their most sustained reading or thinking done, their most extended daily period of introspection or of listening to music.' (Lanchester, 2013) 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 liveswe simultaneously inhabit two distinct and separate worlds. One is mental, private, 'internal.' The other is physical, public, external' (Burgin, 1996,p29)
PHASE 11 FINAL PROJECT ANALYTICAL DRAWINGS & ANIMATION
PHASE 11
FINAL FILM _ CHRONOGRAM 01
A journey Bank-Beckton a capsule containing all the chaos of our lives, a space where thinking and inner thoughts come into play_the third space. The construction of our identities, where the complexities and ambiguities of human life come to life.Enquiry as the central conception. This was my rst chronogram I made for the lm analysing spaces of the real tapping into the third space.
FINAL FILM_ CHRONOGRAM 01
FINAL FILM _ CHRONOGRAM 01 DETAIL 01
The nal chronogram was made by looking at the survey of the real world and further analysisng my drawings and animations, The animation was analysed by mapping density of space, depth of space, sounds, movement and attention focus against what was actually happening in the real space. FINAL FILM_ CHRONOGRAM DETAIL I tried to develop a notation to communicate this through drawing.
FINAL FILM _ CHRONOGRAM 01 DETAIL02
FINAL FILM_ CHRONOGRAM DETAIL
FINAL FILM _ CHRONOGRAM DETAIL
Crit notes
FINAL FILM_ CHRONOGRAM DETAIL
FINAL FILM _ CHRONOGRAM 01 LEGEND
Crit notes
FINAL FILM_ CHRONOGRAM LEGEND
FINAL FILM _ CHRONOGRAM 01 LEGEND
Crit notes
After a large crit feedback from the tutors made me realise that i needed a way to communicate what was happening in the real world which inuenced the changes in the spaces, here i attempted to create a legend mapping the third space against the real space to let the viewer into the spaces more and to understand how the spaces are formed. Although the space is subjective FINAL FILM_ with CHRONOGRAM LEGEND experienced by an individual they are formed the aid of our everyday realities, that which occurs around us even if we are zoned out of it.
FINAL FILM _ ANIMATION TEST 01
After making the chromogram I had a clear picture of the structure of the nal lm, I knew what was going to happen when so I set up a test animation, structuring the lm as per my analysis of space. I used voiceover and mixed sounds (see CD for animations)
FINAL FILM_ ANIMATION TEST 01
FINAL FILM _ ANIMATION TEST01
FINAL FILM _ ANIMATION TEST01
Crit responses & notes After showing my test to the tutors I needed to work on the following - The use of text, make it more justied and more appealing to the eye - Depth of eld, blur and focus can be improved - Work into spaces more make them richer - Colour space to differentiate between emotional spaces - Camera movements dont always have to be linear, change it up all of a sudden - How do we know where we are, try and bring in the real world into the space for navigation into worlds. - What to these spaces mean to me? The city can be viewed through different emotional spaces, how does this relate to your own take on the project?
FINAL FILM _ ANIMATION TEST 02
I further developed my lm by adding in elements of the outside world, for navigation, changing up the colour space to show the differences in the emotional spaces,depth of eld, sound and spaces. See CD for test animation 02.
FINAL FILM _ ANIMATION TEST 02_ PROCESS

Playing with depth of eld

FINAL FILM_ ANIMATION TEST 02_PROCESS



BECKTON

Colour Space... The spectrum
Incorporating the real world into the spaceto show the relationship between spaces I used moving footage to try and show where you are before entering the spaces. Crit responses _ the real was too unaffected, i needed to edit the graphic quality, and make the lm ow better together with try and incorporate further data. Still need to work into spaces more and work on camera movements.. How does one world merge into the other? Affect everything, including voiceover. I needed to make the lm ow better and feel better by editing text and scenes, timing it correctly and being consistent with the introduction of texts. It is about spatialising, always should be thinking in spatial terms. I was still working on the response to the outside world on the abstract world, and was trying to do things in relationship to sound.
FINAL FILM _CHRONOGRAM UPDATED
BANK PL FINAL FILM _ INDIVIDUAL SCENES/SPATIAL ANALYSIS BANK_ PLATFORM LEVEL
BANK SD FINAL FILM _ INDIVIDUAL SCENES/SPATIAL ANALYSIS BANK_ SETTLING DOWN
WESTFERRY FINAL FILM _ INDIVIDUAL SCENES/SPATIAL ANALYSIS WESTFERRY NEWSPAPER FLICKS
CUSTOM HOUSE FINAL FILM _ INDIVIDUAL SCENES/SPATIAL ANALYSIS CUSTOM HOUSE_PHONE FOCUS
BECKTON FINAL FILM _ INDIVIDUAL SCENES/SPATIAL ANALYSIS BECKTON_ STEPPING OFF
FINAL FILM PROCESS-GRAPHICS OF THE REAL
Injury _ Tomato - Reference The real images in my lm were too unaffected I used this reference to help me get the graphic quality of the real, merging the spaces.
Beckton- Stepping off My own amended footage
FINAL FILM _PHONE FOCUS_ PROCESS-GRAPHICS OF THE REAL
REFLECTIVE CONCLUSION
This Diploma course has been Challenging,a true life lesson in discipline, work ethic and persistence. My Final year at Greenwich has been very interesting and fun, the best I have had. I have been permitted to explore my own interests together with develop a greater understanding of spatial concepts and incorporate my learnt knowledge & theory into design, this has been particularly important for me as in practice and in the past I have often found it is not always possible to do so. One of the reasons why I chose to study architecture was the the vast field in which it covers, and the effect it has on individuals to make them feel something, taking an empty space and bringing it to life fueled with emotion. This year I feel like this has done itself justice by allowing me to break the limits of design and explore extended boundaries. I feel as if the course has broadened my knowledge base, greatly expanded my skill base and has prepared me further to better my professional carer. I have confidence in my interests and have the ability to come up with more innovative concepts, and have a knowledge base far greater than I ever have had. My final project bases itself around concepts which all interest me, the daze, the subjective experience, alienation and displacements between worlds and within space. The interest in the project has driven me. Although i was challenged with getting to grips with new media I found a way through using this to develop the drawings which i love to do and make them spatial and bring them to life . What is the point in doing something unless you thoroughly enjoy it, and I have. I am particularly grateful to my final year tutors, Nic Clear, Simon Withers & Mike Aling who have given me flexibility in exploring more of myself, encouraged me to do better and push the limits throughout the year, in doing so they have built my confidence and prepared me for any future challenges which come my way. I have learnt a lot about myself through this process in particular why I do have interests in people lost in space, the disconnection between the dry concrete reality of what we do in our everyday robotics and what we want to do, our imaginations...really it comes down to me, my life choice...my self... It is what makes it all so interesting, we manage to come up with individualistic design concepts and innovative change because we are all individuals in ourselves, we all have our own lives and there is no limit to how far you can go as a person and push your capabilities, your mind or your own knowledge base, you can never know enough or ever feel content there is too much possibility... you could always dream of a space. I have come to accept the ambiguity and complexity within human life and see it as an opportunity to push my further development and career...it is what colors our lives.
REFLECTIVE CONCLUSION
CONCLUSION
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DESIGN DEVELOPMENT DOCUMENT - Fizaa Esmail

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PORTFOLIO SUBMISSION FIzaa Esmail PT Yr 3- Unit 15

CONTENTS PHASE 01 PHASE 02 PHASE 03

PROJECT 01 : CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM

PROJECT 02 : SPACE TIME DLR PROCESS

EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

SPACE TIME FILM CHRONOGRAM

SPACE TIME :PROCESS

CREATING SPATIAL ENVIRONMENTS_MIND SCAPES

CONTENTS Cont.. PHASE 08

IMMERSING THE BODY INTO THE ENVIRONMENT

FINAL FILM ANALYSIS

FINAL FILM ANALYSIS

FINAL FILM DRAWINGS & ANIMATIONS

PROJECT 01 CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM

PROJECT 01 CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM

PHASE 01 REPRESENTING MOVEMENT THROUGH A BRIEF

PHASE 01 REPRESENTING MOVEMENT THROUGH A BRIEF

PROJECT 01 CHEMICAL BROTHERS PROCESS- CHRONOGRAM 01

PROJECT 01 CHEMICAL BROTHERS PROCESS- CHRONOGRAM 01

PHASE 02 SITE SURVEY & SPACE TIME ANALYSIS

PHASE 02 SITE SURVEY & SPACE TIME ANALYSIS

PROJECT 02 SPACE TIME DLR CHRONOGRAM

PROJECT 02 SPACE TIME DLR CHRONOGRAM

SPACE TIME DLR- MAPPING INITIAL OBSERVATIONS & ANALYSIS

SPACE TIME DLR- MAPPING INITIAL OBSERVATIONS & ANALYSIS

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

PHASE 03_EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK PHASE 02

PHASE 03_EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

PHASE 03_EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

PHASE 03_EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

SPACE TIME CHRONOGRAM 01

SPACE TIME CHRONOGRAM 01

PHASE 04 INTERVIEW_ OUTSIDE_INSIDE_ THEME DEVELOPMENT

CD_ PHASE 04 DLR ANALYSIS_ OUTSIDE-INSIDE FILM,

PHASE 04 INTERVIEW_ OUTSIDE_INSIDE

SPACE TIME CHRONOGRAM 02

SPACE TIME CHRONOGRAM 02

SPACE TIME CHRONOGRAM 03

SPACE TIME CHRONOGRAM 03

PHASE 05 _LOOKING INTO THE HUMAN BRAIN

PHASE 05 _LOOKING INTO THE HUMAN BRAIN

SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

DESIGN DEVELOPMENT MIND THERAPY SPACE

DESIGN DEVELOPMENT MIND THERAPY SPACE

NEURON WORLD- INITIAL HAND DRAWING COMPOSITION & LAYERING

NEURON WORLD- INITIAL HAND DRAWING COMPOSITION & LAYERING

NEURON WORLD- PROCESS TRACE & LAYERS

NEURON WORLD- PROCESS TRACE & LAYERS

NEURON WORLD- TEXTURE, LAYER & EMBOSS

NEURON WORLD- TEXTURE, LAYER & EMBOSS

NEURON WORLD 3D LAYERING IN AFTER EFFECTS

NEURON WORLD 3D LAYERING IN AFTER EFFECTS

EXTERNAL- INTERNAL:ENTERING THE MEAT

EXTERNAL-INTERNAL:ENTERING THE MEAT

EXTERNAL-INTERNAL: PROCESS - INITIAL HAND DRAWINGS

EXTERNAL- INTERNAL: PROCESS - INITIAL HAND DRAWINGS

EXTERNAL-INTERNAL:ENTERING THE MEAT- PROCESS

EXTERNAL- INTERNAL: PROCESS - INITIAL HAND DRAWINGS