M O D E L
MODEL BOOKLET REPRESENTATION P30027 2014 GROUP 18 AUSTEN SCOTT JAMIE CRAPNELL MAARTEN MUTTERS MOHD NURHUARI YAHYA RACHEL JONES SHRAVAN VAIDYANATH SITI AZMI
When creating the model our intention was not to design an object that represents what our architecture looks like, but to create a three dimensional space that emulates the sensation of experiencing our architecture. That specific space is the labyrinth of encased objects that the creature has digested and accumulated over its lifetime. By using low lighting and mirrors placed in both the bottom and the top of the box we were able to create a sensation where we experience theses cultural artifacts in an almost infinite void. This pure and distilled sensation of space functions as an interpretive device where the viewer seeks meaning through form finding as opposed to instructions of intended form.
As the creature roams the Oxford cityscape it seeks to gain understanding through the analysis of artefacts. These artefacts essentially become the culturally significant information with which the artificially intelligent creature sees the world. As it begins to collect more objects it is able to rationalise the phenomena of the urban environment and adapt to its requirements. However, as the creature gains understanding it becomes overburdened by a mass of physical information and thus falls into a declining state of mobility where it ultimately becomes a static relic. This model intends to show that final stage of the architectural process: a skeletal landscape of fossilised artefacts that bare within them a glimpse of the knowledge of our history and being.
The model and the film both share moments where the same artifact can be seen. A telephone box, a book, and a blue car are specific examples. These glimpses highlight the connection between both representational methods. A film that show the experience of a creature seeing an object in a fundamentally abstract and unrecognisable form and a model showing the same artefact after it has digested and analysed. The objects have therefore been represented in a form that is recognisable to our understanding of it.