ADS4
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POSTPRODUCTION: MANUAL FOR REDESIGNING REALITY
Nicola Koller
First Year
Second Year
Tom Greenall
Ania Podlaszewska
Bamidele Awoyemi
Matteo Mastrandrea
Astrid Jahncke
Christopher Straessle
Ricardo Sosa Mejia
Benedict Spry
Hannah Rozenberg
Eleni Elia
Limal Harris
Emmy Bacharach
Pierre Shaw
Janice Chow Kamola Askarova RCA Scho ol of Architecture. ADS4.
Peijing Lu Praveen Paranagamage
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RCA Scho ol of Architecture. ADS4.
ADS4 Research Folio published on
Edited by David Burns
https://www.rca.ac.uk/schools/
the occasion of the exhibition
Design by Lucrezia Tettoni
school-of-architecture/
RCA Show 2018.
Printing by Art Quarters Press
This is one of thirteen folios,
Every reasonable attempt has
each focused on the work of one
been made to identify owners
First edition, published June 2018
Architectural Design Studio (ADS)
of copyright. Errors or omissions
Printed in United Kingdom
or school-wide offer at the RCA
will be corrected in subsequent
School of Architecture.
editions.
Adrian Lahoud
Royal College of Art
Dean of Architecture
School of Architecture
school-of-architecture@rca.ac.uk
Š 2018 RCA, editor, designer and contributors
Kensington Gore Beth Hughes
London SW7 2EU
Head of Programme, Architecture
UK
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POSTPRODUCTION: MANUAL FOR REDESIGNING REALITY ADS4
Tutors
Technical Tutor
Nicola Koller
Ricardo Sosa Mejia
Tom Greenall Matteo Mastrandrea
Students First Year
Second Year
Ania Podlaszewska
Janice Chow
Bamidele Awoyemi
Astrid Jahncke
Kamola Askarova
Christopher Straessle
Benedict Spry
Peijing Lu
Hannah Rozenberg
Eleni Elia
Praveen Paranagamage
Limal Harris
Emmy Bacharach
Pierre Shaw
Acknowledgements Adrian Lahoud
Ingrid Schrรถder
Mike Lim
Alex Holloway
Inigo Minns
Morgan Lewis
Andrew Gibbs
Isabel Ogden
Ricardo Sosa Mejia
Anthony Dunne
James Pockson
Roberta Marcaccio
Beth Hughes
Jane Hall
Rosy Head
British Land
Joshua Green
Stefan Tribe
Carolyn Kirschner
Laura Jouan
Tanya Rainsley
Emmeline Quigley
Manja van de Worp
Fiona Raby
Mark Campbell
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CONTENTS— INTRODUCTION 06 Research statement
12 Studio brief
13 Live projects, collaborations, partnerships
14 Findings
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CONTENTS— STUDENT PROJECTS 20 Bamidele Awoyemi
24 Christopher Straessle
28 Hannah Rozenberg
32 Limal Harris
36 Pierre Shaw
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RESEARCH STATEMENT INTRODUCTION
ADS4 is a critical design studio.
these themes through the prism of
preexisting works; more and more
Since 2001, the studio has been
postproduction.
artists interpret, reproduce, re-
specialising in speculative near-
exhibit, or use works made by others
futures and alternative nows. We
We live in an increasingly post-
or available cultural products. […]
explore the complex and often
produced world. The reuse,
The material they manipulate is
contradictory world around us,
reinterpretation and reediting
no longer primary. It is no longer a
analysing key shifts in thinking,
of existing information is the
matter of elaborating a form on the
emerging trends, technological
ascendant modus operandi for
basis of a raw material but working
breakthroughs and the new
contemporary forms of (cultural)
with objects that are already in
behaviours they bring with them.
production. Yet, given that (whether
circulation on the cultural market,
for legal, or aesthetic reasons) this
which is to say, objects already
ADS4 weaves these developments
cultural postproduction is often
informed by other objects.
into alternate future scenarios,
undeclared, the extent to which
exploring a world where the
it has pervaded culture can be
Bourriaud’s observations
design outcomes are very different
hard to recognise and thus difficult
anticipated the emergence of what
from ones indicated by existing
to rigorously examine. However,
is now known as remix studies—a
surprise-free masterplans. We
understanding what contemporary
field which branches out of remix
accept no givens; everything must
postproduction is—and how it takes
culture, an international movement
be questioned, dissected and
place—is an urgent task for those
that began around the late
examined, with design as our
eager to safeguard their agency
Nineties, and which is closely linked
critical tool. Driven by social fiction
in a world of rapid technological
to open source and do-it-yourself
and real people, not science fiction
change.
activities that became relevant on
or broad-brush demographics,
the Internet around that time.
our projects make possible futures
In his book Postproduction: Culture
familiar and in doing so become
as Screenplay, Nicholas Bourriaud
As a practice, remix was first made
powerful tools that enable us,
observes that—
popular in music communities
and others, to question our design values. This year, the unit has explored
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(such as disco and hip hop) in Since the early the nineties, an
the 1970s, but it has its roots in
ever-increasing number of artworks
antecedent eras. Indeed, one might
have been created on the basis of
even venture to say that (perhaps
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Mark Leckey SEE, WE ASSEMBLE 2011
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since the inducement of Dionysian
or not) and seems exponential;
imitatio) postproduction/remix
the network ensures that
has always dominated the process
postproduction is compound—with
(if not the discourse) of art. Art
citations standing on the shoulders
history is now widely accepted
of citations. Consequently, we see
as a history of reinterpretations,
the eradication of the traditional
appropriations, cross references,
distinction between production
dialogic presuppositions, citations,
and consumption, creation and
and recontextualisations—from
copy, readymade and original
cubist collages and situationist
work, moving beyond a simple “art
détournement, to modernist cut-up
of appropriation”, which naturally
techniques and postmodernist
infers an ideology of ownership,
culture jamming.
and instead towards a culture of constant activity based on a
Yet, contemporary postproduction
collective ideal: sharing.
occurs within a context that renders
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it radically different from historic
However, precisely how this
forms of appropriation. Increased
information is gathered together,
access, rapid transmission and
combined, reformatted etc. has
democratised production all mean
not been rigorously interrogated;
that today’s postproduction art
the application of postproduction
reflects the proliferating chaos of
techniques to culture today (in the
global culture in the information
most general sense) is a process
age—a chaos that collides together
that awaits systematic study. More
everything (whether intentionally
careful consideration needs to
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Katja Novitskova Pattern of Activation 2014
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be given to the ways in which
economic imperatives. It is simply
are increasingly dictating the terms
reproduction, borrowing and
cheaper to do it in the machine
of appropriation.
amalgamating have been, and can
than on location.
be, a source of cultural innovation;
Yet, this form of automation—what
only then will it be possible to
As Hito Steyerl has acknowledged,
could be referred to as a post-
reflect on the value of different
forms of montage that we are
production of postproduction—
postproduction approaches/
accustomed to in the cinema
problematises, amongst other
techniques and, in turn, answer
are derived from economic
things, the status of the artist
the question: how should we
necessities, despite masquerading
in creative processes (and
draw together the heterogeneous
as storytelling devices. Even
concomitantly her/his ability to
elements of existence that history
parallel montage—the narration
intervene in the world). To wit, when
has furnished us with? Or, in other
of two strands of the story in
control of curation/production
words, how should we post-produce
parallel, which became universal
is handed over to machines, the
our world?
as early as 1909—is the product
danger is that cultural objects—
of an economic logic in which
works of art—simply embody the
If one looks closely at this
‘it is cheaper and more efficient
values of the capitalist society from
hegemony of borrowing and
in terms of production because
whence they came, regardless of
copying, it becomes apparent
one doesn’t need to shoot
what their ‘content’ happens to be.
that postproduction poses a
chronologically.’ As such, the tools
series of unique challenges for
of postproduction available to
As spatial designers (working
contemporary art, design and
us today are those that, under
in architecture, interior design
architecture—challenges which are
our current capitalist ideology,
and stage design), we find this
less to do with what is occurring
we have collectively chosen to
particularly disconcerting. Today,
(although this does raise important
develop. The computer screen of
architecture and urban space is
questions regarding authenticity,
the postproduction artist, therefore,
being reframed and remade in
reception, authorship, and
provides a black mirror that reflects
a similar mode to film and other
copyright), and more to do with
society’s values at large.
art forms. Software advances
how it is taking place.
are providing architects with To understand that postproduction
new digital tools (BIM, simulation
Within the film and media
decisions are invariably led by
softwares, VR, AR etc.) that bear
industries, postproduction
dominant cultural and economic
increasing similarity to the tools
traditionally meant synching,
ideologies is important when
of the postproduction artist.
mixing, editing, colour correction,
considering that today, the vast
Consequently, an ‘architecture of
and other procedures performed
majority of postproduction acts are
postproduction’ is latent within the
after principal shooting. With
being performed autonomously by
profession—an architecture which
digital technologies, these
machines—from algorithmically
risks complicity in the prevailing
processes have accelerated
generated news stories to auto-
neoliberal agendas of those who
substantially; in recent years,
enhanced photos. We are also
shape our cities.
postproduction has begun to take
witnessing a proliferation of
over production wholesale. Fewer
artworks which make use of
and fewer components actually
automated postproduction
need to be shot because they
techniques; from films like Oscar
are partially or wholly created in
Sharp’s Sunspring (2016)—a
postproduction. However, whilst
sci-fi film written entirely by an
some of these techniques are
artificially intelligent bot—to the
certainly employed by filmmakers
invasion of neural networks into the
in order to create scenes that would
gallery (see The Next Rembrandt,
not be possible in the real world,
the work of artist Sascha Pohflepp,
more often than not the decision
or Fabrica’s IK Prize winning
to postproduce is in fact driven by
Recognition), automated processes
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STUDIO BRIEF A interest in—and recognition of the
of automation will inevitably
approaches to postproduction
potentially insidious consequences
create a number of challenges for
(a contemporary phenomena we
of—post-postproduction (or the
architects and built environment
dubbed post-postproduction, and
automation of citation/borrowing/
specialists. Early forms of ‘soft’
outlined above as the automation
remix) meant that this year ADS4’s
artificial intelligence (AI), such
of citation/borrowing/remix) led
ambition has been to interrogate
as Apple’s Siri, along with
to a single and urgent question
the theme of postproduction in two
infrastructural AI, such as high-
for the unit: how, given the vast
senses: both as process (a series of
speed algorithmic trading, smart
amounts of data that punctuate our
design tools and techniques) and as
vehicles and industrial robotics
complex society, might a manual
problem (an emergent context).
are increasingly a part of everyday
approach to design compete
life—part of how our tools work,
with the brute-force approach of
how our cities move and how our
automated postproduction (with
economy builds and trades things.
all the information processing such
Software advances are providing
These forms of AI can outperform
processes entail)?
architects with new digital tools
human beings at numerous
(BIM, simulation softwares, VR, AR,
specific tasks and are spreading to
In order to start answering
etc.) that are arguably bringing
thousands of domains, eliminating
this question—and alongside
them closer to the construction
jobs as they do. Over time this
the development of individual
process than they have been in
technology will come to control
projects—the unit created a
decades. How might the techniques
semi-autonomous and autonomous
publication which proposed that
used by postproduction artists
hardware like self-driving cars
only by manually understanding
and filmmakers (dubbing, editing,
and robots, displacing factory
the tools and mechanisms by which
remixing, subtitling) be translated
workers, construction workers,
machines are reformatting our
into tools for architectural design
drivers, delivery workers and many
world can we engage with, and
and what new forms might emerge?
others. Might increasing levels of
reverse-engineer the status quo.
The Process (Postproduction):
The Process (Postproduction):
automation lead to a new urban landscape of post-production—a
By breaking down various
future without work?
postproduction (film) techniques
The emergence of smart technologies and increasing levels
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into simple diagrams that translate The intersection of these two
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Redesigning Reality developed a
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architectural design.
novel framework for the analysis of
only through understanding and exploiting (or repurposing)
architecture; it thereby provided
All subsequent work within the
contemporary technology will we
a new reading of contemporary
unit developed the sentiment, if
be able to safeguard society from
architecture—one that highlights
not the content, of the Manual for
the pernicious and often latent
the significance of postproduction,
Redesigning Reality. Contemporary
biases embedded in the logics and
as well as advocates the
developments in technology
objects of our neoliberal world.
appropriation and future use of
underpin the outputs of the unit.
postproduction techniques in
It is our critical position that
LIVE PROJECTS, COLLABORATIONS, PARTNERSHIPS The unit’s live project was an
and automation) might impact
government introduces a
investigation into the Future of
on physical retail space. These
subscription-based visual
Retail within the context of a
scenarios were:
consumption policy to allow you
British Land site in Canada Water
to reduce your amount of media
(specifically the existing Surrey
Surface Society (Continuation):
exposure—visual content can
Quays Shopping Centre and the
Technology continues to develop as
be blurred according to your
adjacent Printworks site; a site
predicated with no unanticipated
subscription. In retail’s attempt to
made redundant first by vacation
major disruptions. Consequently,
retain its physical presence, spaces
of the Grand Surrey Dock and
the prosumer replaces the
are visually simplified and sound is
Canal Company and more recently
consumer, and the world becomes
fully explored as a space-forming
by the relocation of the Daily Mail’s
a stage set for photography.
medium.
printing operation to a site outside
Retailers create ever-more novel
London).
environments to fabricate the most
Hyper Local (Discipline):
“grammable” backdrops. Pop-up
The potentially disruptive impact
retail is ubiquitous.
of technology is minimised
Using the Four Futures methodology (originally developed by futurist Jim
through careful planning and the
Dator), the unit developed a series
Post-Visual (Collapse):
adoption of policies and strategies.
of future scenarios that explored
To mitigate the ecstasy of
Independent stores start to re-
how today’s emerging technologies
visual content which defines
emerge, intertwining traditional
(including artificial intelligence
contemporary culture, the
retail with on-site manufacture
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(which utilises emerging technology
revolutionises how people ascribe
As well as the Live Project, the unit
such as 3d printing). In line with the
value.
also visited New York in February
values of the consumer citizen, a sharing economy emerges.
to take part in a workshop at The These scenarios were conveyed
New School, alongside Anthony
through imagery and artefacts—
Dunne and Fiona Raby (who
Fully Automated (Transformation):
instruments to be used by British
taught in ADS4 when it was first
New technologies, businesses
Land to engage wider audiences
established). Work from previous
or social factors significantly
(stakeholders, designers, local
students of ADS4 was used to frame
change the game, leading to an
authorities and the public) in
a discussion about the increasing
environment that is unrecognisable
the decision making process,
relevance of critical design as a
and almost unimaginable today.
potentially leading to the
social, political and environmental
All the goods you need are
development of a robust and
tool for designers, academics, and
automatically replenished to you
future-facing strategy for the
policymakers on both sides of the
home. In this state of post-scarcity
provision of retail space in the
Atlantic.
and full automation, increased
Canada Water masterplan.
availability of previously rare goods
FINDINGS Much of the work done in ADS4
Redesigning Reality—is used as a
function. In cinematic terms, cuts
this year has knowingly utilised
means to reveal political, social,
separate shots, but also frame the
lexical (anglophonic) coincidences.
environmental or technological
body within the space of the screen,
For example, postproduction is
truths that are tacit yet significant.
allowing it to be manipulated, parts
a word from the vocabulary of
Take cut: as Steyerl discusses in
hidden or revealed. Architectural
audiovisual practitioners; but it
her essay ‘Cut! Reproduction and
cuts manifest in a number of ways:
could also be used to refer to an
Recombination’, cut embodies a
cutting is used to reconfigure
automated world that is post (or
number of cultural and political
and edit existing buildings, to
after) human production. Likewise,
meanings. In current economic
join different materials, to create
manual can be interpreted as
terms, cut refers to a reduction,
voids. A cut could be experienced
both a document providing
usually of government spending
whilst moving through the building
instructions or information, as well
allocated to social services. In the
or evident in a façade. When
as relating to something done by
language of austerity, cuts are
budgets are cut, buildings are cut
hand (as opposed to automated
often described in relation to the
also—often starting with libraries,
means). This wordplay—which
body. The state is compared to an
community centres and social
extends to each and every
individual whose body must lose
housing.
technique in the unit’s Manual for
parts or reduce in size in order to
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to be understood properly).
coincidences can engender
Consequently, the unifying theme behind all the projects—and
could easily be overstated, at the
ADS4 does not prescribe an
the provocation/discovery the
very least they betray linguistic
aesthetic. As such, there is a
work itself proffers—is simply:
efficiency (the use of the same
productive variance in the work
if reality is postproduced (in
word/sound for more than one
the unit produces. Yet, what does
both senses of the word), then it
meaning). This efficiency can lead
draw the work produced by the
follows that we can also change
to confusion—a confusion which,
unit together is an attempt to
reality through postproduction. As
when speaking one human to
understand or inhabit the world
architects, perhaps we can ‘reverse
another, is often easy to avoid (we
as machines do. Only then can
photoshop’ our world to create
understand the context, and thus
we anticipate and (if needs be)
preferable, or at least alternative,
the meaning of homophones), but
alter the impact technology will
realities? An architecture of
when speaking to a machine, is
inevitably have on our lives. A
postproduction as an antidote to
often difficult to manage (just think
machine’s use of language is one
our post-production future…
how slowly you have to speak into
entry point; a machine’s mode of
voice recognition software in order
reformatting our world is another.
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Janice Chow
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SECO YEA PROJ Bamidele Awoyemi
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Christopher Straessle
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Hannah Rozenberg
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OND AR ECTS Limal Harris
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Pierre Shaw
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BAMIDELE AWOYEMI LOT TO C RAC Y: I T C O U L D BE YO U
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We live in a digitally determined
to a more representative ruling
opportunity for lottocracy to begin
world. Whereas once we sought out
elite?
reintroducing free will into society
news, entertainment and fiction we
at the very heart of its decay. Only
wanted to consume, now we rely
This project anticipates the
then will we break free from the
on internet algorithms and social
emergence of a lottocratic
shackles of digital determinism;
media platforms to ‘feed’ us with
government whose sole aim is to
only then will we realise that those
content they think we want.
revivify society with the free will it
in power are not required to be
lost to the echo chambers of the
those we see in the media—instead:
Consequently, we are now passive
internet.
players in an active game. Our
It could be you.
agency has been eroded; digital
The leaders, terms, and roles of The
determinism has tacitly supplanted
Lottocratic Assembly are selected
free will.
via lottery. As part of its strategy to produce a system of governance
This leaves society open to
which more adequately represents
profound manipulation. Every year,
the nation, parliament becomes
organisations spend inordinate
itinerant. It utilises existing rail
amounts of money on bespoke
infrastructure to set up The
datasets, targeted ads, and
Lottocratic Network—a web of
predictive algorithms, so that they
potential sites of intervention at
can anticipate and engineer the
all 2,563 UK railway stations. These
minds of others. Today, our habits,
gateways (each occupied by the
tastes, opinions and knowledge are
lottocratic assembly at random, for
constantly—and cynically—guided
random amounts of time) provide
in directions we are not aware of,
exposure for—and therefore build
by forces we cannot see.
trust in—lottocracy.
Yet, although this might seem
The relevance of the interventions
palatable in a retail or professional
The Lottocatic Network makes are
context, the political consequences
twofold. On the one hand, they
of digital determinism are highly
provide space for the assembly
disconcerting. With Cambridge
to gather (as well as all the
Analytica representing only the
necessary ancillary space for such
latest example of the ways in which
a gathering to take place); on the
data manipulation is affecting
other, they each make provisions
society’s ability to vote freely, a new
for the future of the surrounding
macro-political strategy is urgently
area. This legacy strategy ensures
required.
that any development is not transitory and wasteful, but long-
Instead of a democratically elected
term and worthwhile.
government, what if parliament was elected via lottery? Instead
Despite sites being selected
of those in power reflecting the
randomly, the first site of the
misguided and manipulated “will”
Lottocratic Assembly is not. Instead,
of the people, what if our sullied
Euston station is chosen due to its
electorate was removed from the
extant technological inhabitants
process altogether? Would this lead
and expertise—Euston offers an
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CHRIS STRAESSLE 24/7
Three is a magic number. Yes it is,
But can this growth and
proposes its own system: a tripartite
it’s a magic number.
concomitant reordering of society
working day. This new temporal
— Schoolhouse Rock
be seen as an opportunity as
order allows three different people
opposed to a threat?
to inhabit each bed, three to
Overpopulation is typically viewed
occupy each desk, three to share
in a negative light—and it’s easy
This project proposes that, if
each car. With every day now split
to see why: the number of people
managed correctly, overpopulation
into three 8-hour shifts, cities never
alive today is widely understood
has the potential to furnish our
have to sleep: a truly 24 hour city
to underpin many (if not all) of the
species with a series of cognitive,
can emerge. Although superficially
world’s environmental, social and
circadian and social opportunities.
more efficient, this new city (built
political problems.
By learning from historic measures
on routine) actually safeguards
proposed/taken to mitigate the
activities like sleep and leisure
And this global malaise is only
negative effects of population
from their contemporary, steady,
set to get worse—particularly for
growth (two major approaches
capitalist erosion.
cities. By 2050, 66 percent of the
have been developed: either
world’s population will live in urban
behaviours are adapted to
In the face of an already acute
areas. As populations grow, society
live within reduced means, or
housing shortage (and alongside a
will be forced to reconsider how
technology is deployed in order
desire to improve its environmental
metropolitan areas are occupied
to alter our environment so that
footprint by lowering the number of
and organised.
it might meet our demands), 24/7
people commuting long distances
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to work), the City of London decides
dusk, we are free to engage with
to initiate this radical new routine.
the city at our leisure.
In order to facilitate its new
The society of 24/7—a society of
24/7 existence, a series of urban
pedantry and precision—generates
interventions emerge across the
a world of paradoxical liberation
City; they enclose certain areas
and choice.
Artificial light over St Pauls
beneath a large canopy (which houses a number of fly towers) designed to create a perpetually lit 24 hour environment, whilst also providing an infrastructure to recreate any desirable weather condition whatsoever. The new synthetic experiences these spaces create engender new forms of interaction and behaviour. No longer shackled to the caprice of external weather conditions and the unwavering cycles of dawn and
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Synthetic Environment, City of London Infrastructures for Overpopulated Cities
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HANNAH ROZENBERG BUILDING WITHOUT BIAS: AN ARCHITECTURAL LA N G UAG E F O R T H E P O S T-BI N A RY
Technology is not neutral. We’re
its way into our bodies, buildings,
methodology for designing a post-
inside of what we make, and it’s
and cities, it is essential that it
gender architecture.
inside of us. We’re living in a world
be designed in a way that is free
of connections – and it matters
from insidious biases. However, in
Commissioned by OMNI
which ones get made and unmade.
the case of gender, this is rarely
(Organisation for More Nuanced
— Donna Haraway
the case. Instead, the artificially
Ideas), a series of post-gender
intelligent tools that we use on a
interventions are tested in one of
Man is to Computer Programmer
daily basis amplify and sediment
London’s least nuanced areas: St
what Woman is to Homemaker.
existing gender inequalities.
James’s. In 2018, St James’s is still
The most appropriate pronoun for
This project seeks to discover
gentlemen’s clubs and gendered
the word Vulnerable is She whilst
whether architecture can be
businesses. These institutions are
Intelligent is better suited to He.
used as a tool to reveal, rethink,
visited by white, wealthy men, and
and revise the biases that are
their doors are closed to women or
All domestic or administrative AI
embedded within technology and
to those who do not belong to this
should be female.
society.
elite.
These gendered prescriptions are
Inspired by the processes of word
Five OMNI interventions are
the result of a machine logic—a
embedding, the project first defines
designed to disrupt the existing
logic that indiscriminately infers
a series of 0 GU (Zero Gender Units)
situation of St James’s. The purpose
truths from (often compromised,
architectural components. In the
of these 0 GU spaces, which vary
rarely representative) data; a logic
eyes of the contemporary machine,
in scale—from the size of a piece
that thus uncovers and embeds
these components are—as a result
furniture to that of an entire
problematic prejudices at the heart
of the way that they are labelled/
building—is to retrain how we
of contemporary society.
named—seen as neither male nor
use language. Since technology
female. This linguistic approach is
reflects the biases embedded in
then developed into a more holistic
our language, the first step towards
a very exclusive area, with many
As automated technology finds
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a non-biased machine is a gender
gender neutral masterplan is one
equal language. The interventions
in which buildings are no longer
therefore house five different
individual, exclusive spaces and
programs, each representing a
where the boundaries between
different way in which language is
programs, forms and genders are
used: viewing, speaking, listening,
merged.
A constantly evolving simulated masterplan for St James’s
writing and reading. Alongside this enterprise, a landscape simulation is also designed to maintain an optimally genderless St James’s. The ideal
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Components of a gender-neutral architecture Interior view of theatre space within existing gentlemen’s club
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LIMAL HARRIS THE CIRCULAR RUINS OR: THE ARCHITECTURE OF AN ARTIFICIAL RELIGION
1944.
experience.
conceptions of God. This
The short stories of Argentinian
Consequently, this project puts
misapprehensions) will catalyse
writer Jorge Luis Borges are
forward Borges’ short story as
the formation of a new AI religion;
collected into his seminal magical
an allegorical frame for the
and architecture—given its historic
realist anthology, Ficciones.
interrogation of a simple though
attempts to give the metaphysical
imminent question: What becomes
form—will play a key role in its
But within this collection is one
of architecture in a society that
development.
essay that would go curiously
believes in the potential of an AI
under-recognised: The Circular
god?
misapprehension (or series of
The project is thus focused on
Ruins.
an attempt to define the spatial In a near-future scenario where
language of this new religion,
Borges’ short story meditates on
the capabilities of emergent
initially setting out to understand—
a series of abiding questions,
technologies like AI and quantum
or misunderstand—how neural
such as the cyclical nature of
computation are sufficiently
networks behave through crude
creative acts, meaningful dreams
progressed so as to be widely
experimentation with readily
and deterministic realities. But its
utilised, and yet still based on
accessible automated programs,
contemporary relevance extends
a limited machine logic (which
informing a series of speculations
much further; if subjected to
remains popularly misunderstood),
into the potential misinterpretations
a critical re-reading in light of
confusion regarding the ostensible
of existing sacred architectural
modern technological contexts,
intelligence, omniscience and
traditions, and other more
The Circular Ruins proffers insight
omnipotence of such technology
mundane signs, to explore the
into the (often contradictory, widely
will come eventually to ensure
kinds of novel aesthetics adherents
misrepresented) nature of lived
its conflation with our existing
within this emergent religious
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Publication Folio 04 06 of 13
The Deindustrial Revolution: Landscap e of Making
community might come to identify
consequently forgone; instead, the
as plausible products of a machine
project acknowledges that it is itself
consciousness.
such a misunderstanding.
In the course of this exercise
Whereas initially, the project
however, the project’s original
narrated a story, now it is a part of
ambition (to establish a new sacred
that story itself.
PROXY: Reconstruction of the Faraday Building, City of London
aesthetic) proved to be inherently misguided; a revelation that
On this basis the project, authored
reflects the problem of religious
by a devotee to a new AI religion,
aesthetics more generally, where
records a wantonly naïve
the supernal and chthonic have
investigation into digital aesthetics
long resisted the finite, limited
compelled by a faith in the
terms of material representation.
plausibility of inhering, meaningful patterns found therein. And
And so, as in Borges’ fiction, the
using the lessons learnt from this
narrative’s central character is thus
process, it sets out the design for a
uncovered as the author.
series of devotional architectural fragments, culminating in the
The project’s pretension to explore
transformation of an existing site -
the potential aesthetics of a new AI
the Faraday Building - located in
religion (which might one day result
the City of London, to explore how
from the shared misunderstandings
architecture might facilitate belief
of a group of fictional others), is
in an AI Go
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lgorithmic Iconography META: Basilisk Fragments Architecture of an Artificial Religion Photogrammetry Landscape
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PIERRE SHAW M U LT I P L I C I T I E S O F S E L F : R E A L I T I E S O F P L U R A L I S E D I D E N T I T Y I N T H E T RA N S N AT I O N A L S TAT E OR: OFO
The Oxbridge Fibre Orbital is a high
Today, we manage an average of
within the English countryside. Pre-
speed fibre optic cable. It connects
26 online versions of ourselves,
empting the eventual digitisation
Oxford and Cambridge in a 300
curating how we are perceived
of the nation-state, individuals will
kilometre loop defining the territory
by the world whilst developing
be free to own, trade and become
of the world’s first identity free
differences in a multiplicity of
any identity they choose. Swapping
zone. The OFO is a quasi-national
selves. Our online identity is a
freely between selves, one
state, offering its inhabitants the
catalogue of channelled memories
enters the newly formed identity
full flexibility of multiple identity
and projections—an archive of
market—a fully liberalised, open
ownership. Within the fibre orbit
everything we want(ed) to be.
and competitive home of buying
you are whoever you choose, whenever you choose.
and owning identity. In the space of a decade the state of Estonia has digitised 98% of
In a world where corporations
Nations are dwindling in both
its access and interaction with
far outweigh the influence of
representative and political
citizens. E-governance provides
their counterparts, the nation-
influence as global digital
non-citizens alike with the right to
state, and where digital E-nations
communities fast become the
own businesses and assets through
compete against one another for
channels through which we
electronic residency. In Cyprus,
your membership (and your tax
communicate and identify. China—
nationality is traded in return for
incomes), corporate and national
the most populous nation on
investment in real estate whilst
symbolism collide. A transnational
Earth—has 1.4 billion inhabitants;
$100,000 buys you Caribbean
urbanism of identity consequently
Facebook adds their 2.2 billionth
citizenship of St Kitts and Nevis.
emerges.
member this month. Viewed
The future of citizenship is fluid,
in this light, the nation-state is
commercialised and pluralised.
facing a territorial and existential challenge—it must adapt.
The OFO is a small piece of experimental annexed territory
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Law Courts LIVE!
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Park or Ride Touring the OFO Disposable Electronics: Gateway
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R OYA L C O L L E G E O F A R T S C H O O L OF ARCHITECTURE ADS4: POSTPRODUCTION: MAN UA L FO R R E D E S I G N I N G R E A L I T Y
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