LEAVE BLANK
2
2020
M E TAV E R S E
ENVIRONMENT METAPHOR: SUPERMARKET INTERNET CONDITION: CROWDSOURCING OF LABOR
SYMBIOSY COHABITATION: INDUSTRY OF HUMAN AND MARKETPLACE
NEHA OSWAL | AKSHADA MULEY
Symbiosy, a unique supermarket, a collective of human services, an enormous bank of labor opportunities in a single wholesome world. Imagine a world of thousands of people, a world full of novice skill, intelligence and talent at every nook and corner. A world made by us, for us, where every person is of equal importance owing to the work they do. As we walk through this world, we are offered endless options to pick and choose the kind of service we want, from multiple options we have. In order to get one task done,we have to pave our way through every aisle, through every category and it is up to us who we choose what suits us the best. This market has aisles, endlessly long and ever rising in height, because it keeps on adding new resources by every passing second. If you were to visit this supermarket just for window shopping, maybe nothing would make sense to you. For every cell in an aisle looks different and it’s kind of hard to understand why two adjacent units are next to each other. In this world there is day at one end of the horizon and night at the other. Every form of labor is unique, yet it fits into its aisle. Only when one would come to this place with a purpose will they understand it well, because the units and their arrangement will fall in place based on the context you are looking for. The world is defined by singular identities, workplaces of multiple natures, but at the same time are willing to get involved in a collaborative feat. In the digital realm, an unending number of micro-tasks and their micro-worlds ( essentially workplaces) can come together to build a macro world of multiple opportunities. Thus, it becomes a play, where one can customize the identity of their purpose based on micro-identities of the workforce involved.
Concept Art: Supermarket of crowdsourced labour Market with long endless aisles , ever rising in height containing micro-worlds of workplaces which build this macro world of opportunities of crowdsourced labour.
WINTER E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
3
4
2020
M E TAV E R S E
SUPERMARKET
Mega Super Market- Andreas Gursky Source. Internet https://www.luxurycruisemekong.com/wp-content/uploads/2017/03/Mega-Super-Market.jpg
AKSHADA MULEY | NEHA OSWAL
The supermarket is known to be a huge collective of various objects or products that one may need to make their daily lives comfortable and easy. Standard supermarkets sell products and they are normally organized according to hierarchical compartmentalization. This can be well related to the human brain and how it uses compartmentalization to categorize various functions as well as emotions. The traffic in supermarket works even if there are no stop signs, neither are there red, yellow and green lights; nothing that tells us where we need to yield or halt our forward movement. We make room for other people to get what they need off the shelves.
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
5
The references are from the works of Andreas Gursky. His work of creating an art of spaces larger than the subjects photographed is the most compelling. The perspective in many of Gursky’s photographs is drawn from an elevated vantage point. This position enables the viewer to encounter scenes, encompassing both centre and periphery, which are ordinarily beyond reach. The photograph 99 Cent (1999) was taken at a 99 Cents Only store depicts its interior as a stretched horizontal composition of parallel shelves, intersected by vertical white columns, in which the abundance of “neatly labeled packets are transformed into fields of colour, generated by endless arrays of identical products.”
SYMBIOSY
Amazon 1m sq ft warehouse at Dunfermline, its largest ‘fulfilment centre’ in the UK (BOTTOM) Sources https://www.theguardian.com/technology/2016/ dec/11/amazon-accused-of-intolerable-conditions-at-scottish-warehouse
Andreas Gursky : May Day 05 (TOP RIGHT) Sources https://www.andreasgursky.com/en/works/2006/ may-day-5
Monster Building Hong Kong (TOP LEFT) Sources: Urban Photography by Tristan Zhou
WINTER
6
M E TAV E R S E
2020
CROWDSOURCING OF LABOR
HIT crowdsourcing to boost speed, find talent, and reduce costs. Source. https://www.mckinsey.com/business-functions/ mckinsey-digital/our-insights/how-to-avoid-the-pitfalls-ofit-crowdsourcing
AKSHADA MULEY | NEHA OSWAL
Crowdsourcing is the practice of obtaining needed services, ideas, or content by soliciting contributions from a large group of people. It uses technology to open up labor or service markets to new entrants that were previously constrained. Some forms of crowdsourcing, such as in “idea competitions” or “innovation contests” provide ways for organizations to learn beyond the “base of minds” provided by their employees. Tedious “microtasks” performed in parallel by large, paid crowds is another form of crowdsourcing. Freelancing has led to this trend of crowdsourcing. Interactive and experiential opportunities to enhance the chance of consumers creating user generated content on behalf of the campaign while building brand loyalty amongst consumers.
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
SYMBIOSY
Screenshots of various apps for collaboration Source: Apple App store, Door Dash Driver, Amazon Flex, Uber Driver, Air bnb in order of top to bottom left to right.
WINTER
7
AKSHADA MULEY | NEHA OSWAL
8 M E TAV E R S E 2020
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
9
If we place supermarket and crowdsourcing of labor together, what lies in common is the Compartment, or the phenomena of compartmentalization. As a unit, we can look at crowdsourcing of labor in a compartmentalized manner. SYMBIOSY
WINTER
2020
M E TAV E R S E
The kit theme “Architecture� led us to think of it in units or fragments of the building that can be multiplied to make modules and multiple options. They can also be used for various purposes owing to size and scale. The kit includes smallest of the objects like lamps, to canopies and assembly of spaces, it goes on to huge objects like entire buildings. Thus, it tries to encompass various scales that architecture offers.
Architecture Model (TOP LEFT) Sources: https://enshu07.exblog.jp/page/2/
AKSHADA MULEY | NEHA OSWAL
Architecture Model (TOP RIGHT) Sources : https://modernshapes.com/article-217-d%C3%A9ambulatoire-nr1
Architecture Model (BOTTOM LEFT) Sources https://www.archdaily.com/306256/wuhan-marine-science-and-research-tower-proposal-acid-aal-studio-meta
ARCHITECTURE
Architecture Model (BOTTOM RIGHT) Sources https://johnroeluna.tumblr.com/ post/113228009778
10
WINTER
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
11
SYMBIOSY
Architecture Model Source - https://www.park-books.com/index.php?pd=pb&lang=en&page=books&view=co&book=606&booktype=order_1_releasedate&subject=2&artist=all&author=all&bv=img#3
THE BEST HIGH RES (SUPER COMPELLING) REFERENCE IMAGE FROM YOUR KIT THEME VISUAL REFERENCES THAT SUMS UP THE VISUAL LANGUAGE OF YOUR KITBASH KITS.
AKSHADA MULEY | NEHA OSWAL
12 M E TAV E R S E 2020
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
13
SYMBIOSY
WINTER
AKSHADA MULEY | NEHA OSWAL
14 M E TAV E R S E 2020
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
15
SYMBIOSY
WINTER
AKSHADA MULEY | NEHA OSWAL
16 M E TAV E R S E 2020
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
17
SYMBIOSY
WINTER
18
M E TAV E R S E
MODELLING
AKSHADA MULEY | NEHA OSWAL
The kit models were first divided into categories by scale. Each scale had components which could be used in permutation and combination with others. The kit was modelled in Cinema4D using various techniques like Loop cuts, Array and Mograph. Some of the difficulties were regarding the texturesand their displacement maps. The UV unwrapping posed a challenge in intricate objects. To our surprise, smaller objects took a lot more time as compared to larger objects.
2020
Symbiosy - Cinema 4D Model The modelling process involved creating the tubes as long aisels and then populating it with different objects.
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
SYMBIOSY
Arc SpACE The UV unwrapping process involved selection of best unwrapping styles and optimizing it to create the UV Map.
WINTER
19
20
M E TAV E R S E
LIGHTING
AKSHADA MULEY | NEHA OSWAL
The concept art drives the position of the lights at particularly two locations, one is at the end of the world and one is front. We started with trying to create a lighting which caters to the whole world and then thinking of each tube to have its own micro lighting. To highlight the length and the depth, hugeness of the world, we placed emmissive lights at the edges of the tubes. The lighting colour was governed by the fact that the world falls in multiple timezones, which is why a tone of orange and blue were used at respective ends. The geometries of these individual tubes facilitated the placement of various elements which make it more a part of the world.
2020
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
21
SYMBIOSY
WINTER
AKSHADA MULEY | NEHA OSWAL
22 M E TAV E R S E 2020
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
23
SYMBIOSY
WINTER
24
M E TAV E R S E
REALTIME
AKSHADA MULEY | NEHA OSWAL
SOUND
We started with identification of scenarios where crowdsourcing happens at individual level. The most prominent example of crowdscourcing are uber, Door Dash, Amazon delivery etc. Thus we started our scene in a bedroom. In today’s world work from home or collaboration with different companies over internet like amazon mechanical turk etc is becoming more common.The next scene takes us into multiple delivery cars which then leads us to parcel Pending room where one has to go hunt for their parcel and then bring it back home. Inspite of these being normal scenarios, they all demand crowdsourced labor. The film thus takes us through an aisle of the supermarket of crowdsourced labor through such spaces which are a part of our everyday life. Lighting for a still image only incorporated global lighting and feel of the space. On the contrary, in real time every space demanded its own quality of light, but also had to be coherent with global ambience. The workflow in multiple files and levels was tricky and in result of this the building of light was varying.
The sounds are coherent with the scale of the huge supermarket of human labor. The ambient sound of the large warehouse, silent with HVAC sounds. These are overlayed with the foreground sounds of the individual space. The reverberations occuring in the world due to its magnanimity and the scale. Sound sources: YouTube, AudioJungle, Sound Snap
2020
Interior of the tube The scene showing the interior of the tube with the same visual language of the concept art showing different timezones in a single space.
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
SYMBIOSY
Delivery Cars The scene from the film paning through multiple delivery cars , uber,Amazon Flex and Door Dash etc.
WINTER
25
Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:10:01)
AKSHADA MULEY | NEHA OSWAL
Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:00:00)
26 M E TAV E R S E 2020
Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:03:19)
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
SYMBIOSY
Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:16:22)
WINTER
27
Film Title Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:39:02)
AKSHADA MULEY | NEHA OSWAL
Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:22:08)
28 M E TAV E R S E 2020
Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:32:12)
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
SYMBIOSY
Symbiosy : Cohabitation of Industry of human and marketplace Still Timecode (00:49:13)
WINTER
29
30
M E TAV E R S E
AKSHADA MULEY | NEHA OSWAL
Creation of metaverse was a multi-fold challenge. Right from imagining a world, which amalgamates an internet condition and an environment metaphor, to its representation in multiple forms. Representing it in two-dimensional concept art posed the challenge of depicting a much larger world than what just exists in the image. Strategies of representing endlessness of the world were deployed. With regards to three-dimensional representation, the world was aimed to deliver many singular entities, but tied together in an everincreasing mirage of spaces. In age of real fictions, Fictive reality is now more real than the realness of Actuality. The work is coherent to todays concepts of internet based virtual worlds but also encompasses the physical nature of spaces and their practical dimension. Hyperreality is seen as a condition in which what is real and what is fiction are seamlessly blended so that there is no clear distinction between where one ends and the other begins. The metaverse of Symbiosy is situated on the edge of multiple natures and time zones but can be seen as one large industry of human labor and crowdsourcing. Such a world truly poses a challenge to the architect to start to define a collaborative world, catering to contemporary demands and trends. This piece of work brings about a mĂŠlange of real architectural worlds into a virtual metaverse
2020
WINTER
E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
LEAVE BLANK
31
32
M E TAV E R S E
AKSHADA MULEY | NEHA OSWAL
THE PRECESSION OF SIMULACRA According to the Baudrillard’s theory of the role of simulacrum the “reality” that the “real” is only experienced after it is experienced in the virtual is a defining feature of contemporary postmodern society. Prior to experiencing a new place, one experiences it by taking a walk through the place in Google maps. Thus, the pre-gazed upon map shapes expectations and understanding of the place before it is visited. Our conception of reality has been modified by three revolutions. The first occurred in Renaissance Period painting. Leonardo Da Vinci and his contemporaries rendered their particular representations using three-dimensional methods creating a realism never seen before. There were only originals, no copies. Simulation then existed as a truly unique representation of the artist’s imagination illustrated upon a medium. The second change happened with the invention of the camera in the early 19th-century. The original and the copy were born, and as a result, so was the distinction between reality and representation of reality. The final revolution of reality conception is a product of the 20thcentury. It is the Simulacra: a copy that takes the place of the real. Things don’t need to be, events don’t need to happen--our values are wholly restructured. We now experience simulation instead of reality. Today, all mediums of media are the means of simulation and Simulacra. there are umpteen examples of this phenomena, For example : The bubble that tv actors create for themselves and for us to believe. A number of TV shows, and news channels which purport to deliver Truth and Reality when in fact the only thing they deliver is a tightly produced and slanted simulation of what they want us to think is Truth and Reality. In the Matrix universe, reality is the simulation, and The Real World is entirely fantastical . This takes us to hyper reality a current cultural condition, a term baudrillard coined, Hyperreality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins. The Simulacra will be ahead of us everywhere. The simulacrum is never that which conceals the truth - it is the truth which conceals that there is none. Since the world is on a delusional course, we must adopt a delusional standpoint towards the world. Can we comprehend a world on a “delusional course,” and one that bears no truth? Or We can say that it draws further invention and discovery through that ongoing inner conversation between our self and our other self, those times when our minds are free to wander and generate new ideas from new and different perspectives--yet not entirely far-afield from where we started.
2020
Simulacres et simulation Source - Author : Jean Baudrillard, Published in 1981 Translators: Paul Foss, Paul Batton & Philip Beitchman
WINTER E N T E RTA I N M E N T T EC H N I C A L S E M I N A R
33
LEAVE BLANK