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AUHOKYIN BERNIE

歐 學賢 流程書

作品集

P O RT FO LI O AU HOK YIN

PROJECT BOOK M1 . Y E A R 2 0 2 1 / 2 0 2 2 SID:1155167547 C . U . H . K School of architecture - M a r c h P r o g r a m m e

PROJECT BOOK 2021 - 2022

CHINESE UNIVERSITY OF HONG KONG

AUHOKYIN BERNIE

PROJECT BOOK 2021 - 2022

Series: 002

CHINESE UNIVERSITY OF HONG KONG

with works by Au Hok Yin Bernie

21/22 Bernie Hok Yin . AU ab. Hong Kong. 1998 hokyinau852@gmail.com +852 67913808

with works by Au Hok Yin Bernie

HOW DO WE SENSE S PA C E ?

STUDIO TUTOR P R O F . C R O S S L E Y, T A T J A N A The most apparent answer to this question is associated with biological factors through the various sensorial stimuli communications between the five senses and the brain. These signals create a generative mental image that can be defined as the perceptual reality . In the context of philosophy, the perception of space is made up of a controlled hallucination within the brain through an accumulation of various processing information being adopted and adapted by experiences of sensation in constructing numerous models and predictions of reality, which it is indeed distinctive and subjective in significations of experiencing the world. This suggests that sensing space is a two-way communication towards the juxtaposition between subject and object, where anthropocentric subjectivity has always been the active dominance upon the objectification of surroundings. This has given the effect that perception of reality revolves around individuals’ sensations within the world, in which subjectivity recognizes oneself as unique and particular in the exploration of reality. Yet, various philosophers have argued otherwise.

Subjectivity becomes the pillars of the following enquiry towards the foundation of how do we sense space? Incorporating various philosophical, fictional, and diverse literature, norvel, anthropocene has brought upon an abundance of the past, present and the future. How should we take possession of our given perceptual reality? How should individuals take control and power over subjective exploration?

INTRODUCTION - HOW DO WE SENSE SPACE?

TABLE OF CONTENTs

PHASE I / RESPONSIVE STRUCTURE GROUP WORK

Can our environments sense us?

THE ORIGIN OF SUBJECTIVITY

- The Origin of subjectivit y / Inspiration / Abstract - Allergor y of the cave, Lacan’s Mirror stage / Research - Habitus / Research / Narrative - Responsive structure / Experiment / Process - Responsive structure / Story-telling / Presentation - Imprisonment of subjectivit y / Stor y-telling / Animation

ACT I // 08 - 17 14 - 15 16 - 10 ACTII // 18 - 35 ACT III // 36 - 45 ACT IV// 46 - 59

PHASE II / WEARABLE DEVICES INDIVIDUAL WORK

how do we sense our environment?

THE TEMPORAL OF IMAGINATIVE REALITY

- Birth of the subject / Inspiration / Abstract - Perpetual Instrument / Process / Translation / Tectonic - Anatomy of ‘Pandora’s Box’ / Tehcnical - Brave new world / Narrative / Stor y-telling

ACT V // 60 - 67 ACT VI // 68 - 79 ACT VII //80 - 85 ACT VIII // 86 - 87

PHASE III / NARRATIVE SPACES INDIVIDUAL WORK

WHAT world do we want to perceive?

THE BECOMING OF INDIVIDUALITY

- The Becoming of ontolog y / Research /Design brief ACT IX // 88 - 97 - Theor y in Translation / Tectonic Research ACT X // 98- 107 - Concept in Realization / process / development ACT XI// 108 - 113 - Virtuality Artefacts: Anthropocene Ontolog y / Narrative ACT XII// 114 - 179

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

PHASE I / RESPONSIVE STRUCTURE

THE ORIGIN OF SUBJECTIVITY

can our environments sense us?

GROUPWORK

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INSPIRATIOn / RESEARCh / PHILOSOPHY

Plato’s ALLEGORY OF THE CAVE

“Human beings living in an underground den, which has a mouth open towards the light and reaching all along with the den; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see before them, being prevented by the chains from turning round their heads.”

Jacques lacan mirror stage theory / ECRits

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“The Mirror Stage as formative in the function of the I as revealed in psychoanalytic experience.”

PHASE I / RESPONSIVE STRUCTURE

ABSTRACT / ACT I

THE ORIGIN OF SUBJECTIVITY C a n o u r e n v i r o n m e n t s s e n s e u s ? A step back towards the origin of subjectivity.

How do we sense space? Sensing space is a two-way communication between subject and the surrounding environment. In which to what extent do the surrounding environments alter our senses in our individual exploration, simulate our perception of our senses in the understanding towards subjectivity. Instead of speculating on developing a reponsive structure that is active to the subject that can be percieved as surrounding dominace. Taking a step back into the origin of subjectivity, where as individuals are constantly the focal point of our own perception upon reality. Taking a philsophical enquiry into the inspiration of ‘Allegory of the Cave’ & ‘Lacan’s mirror stage theory’, understanding the fundamental knowledge of subjectivity, regonising the subjectification and objectification of individual. Through myths and literature, depicting the percieving reality of subjectivity as an imprisonment of subjectivity, in which creating a responsive structure that immerses users of their senses into their personal acknowledgement of such paradoxical truth.

A ‘ llergory of the Cave’ , Pain and Boredom , The shadows, the escape into an expedition

can our environments sense us?

An ancient Greek philosopher Plato once said ‘We can see only the shadows of the real truths, their manifestation in this world, and not their real essence.’ Humanity is merely just an imprisonment of its own shadow, we are often bound by this society as we as subjectivities have the power to seek the truth or dwell within the shadow of the real truth, mindlessly live out of our entire life.

Nonetheless. what we seek and discover perhaps is just a new interpretation of its historical past, an imprisonment loophole between the old and new. ‘The will to live is what keeps us prisoners in the cave, manipulating our lives like we’re some kind of puppet, keeping us in the cycle of pain and boredom.’ Such a statement indicated the will to live is to survive in the manifestation of the perceiving world, humanity is forever bound by the knowledge subjectivities have learnt through our given expedition within the society. Subjectivities are never going to be true to themselves, due to what we know is merely a shadow within the cave. the forever-changing desire that individuals seek to fulfill their temporary pleasure of happiness and satisfaction. Thus, humanity dwell within the shadows of the cave in playing their parts within the system, mindlessly living out their lives in the manifestation of their diluted perception.

Habitus’ , Unity or Neglection , lost in expedition

In today society, we are divided into habitus that we percieved as different, therefore we are different. The way we are in our believes as distinguishing our true self identity from the others. Or are we? Habitus across the society is catergorised into race, gender, age, class and many more, we as individuals distinct ourselves, are not willingly to breach the gap in reaching our ever-changing desire and our believes, it is a mere shadow of the real truth.

Lacan’s Mirror Stage’ , the shadow of contradiction

Jacques Lacan described the only time recognizing oneself as unique and particular as infant themselves unified as a whole self, starting from misrecognizing themselves as an object and the other self, in creating an irreconcilable paradox. This is due to the lack of language and signifiers that based on the limited visual field of an infantile cognition, known as the imaginary/pre-linguistic stage. In the quest of achieving the “Ideal I” and the “desire of the other”, he stated that “the self is the other”. This suggests how what we received from the outside world is a symbolic imagery of a collective outer existence. This is because of the socio-cultural and linguistic environment we are adapted into, known as the gaze, what we desire is entirely concretized across the outside world. An ideal imaginative desire we want to believe in fulfilling our satisfaction. However, it is totally adapted and made up by the collective of the outside world, which makes it about others rather than “Self ”.

There is never going to be self, but the only ideal imaginative of our “I”.

GROUPWORK

.HOK YIN Au BERNIE .BRANDON KAU .JAKE WONG .ERIC LAU

Responsive structure - seeking self identity: a representation of an open narrative Our subjectivity is bound by our society and habitus divides us by our differences creating an amplification of the ‘other.’ Our identity is merely a construction of our environments, an amalgam of history, culture and the experience of the other, leaving us in a irreconcilable paradox that we are never really our self or rather our self is made up from that of which exists outside the self. This project interrogates this paradox and invites you to reflect upon the self.

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PHASE I / Responsive strucutre

THE IMPRISONMENT OF SUBJECTIVITY

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PHASE I / RESPONSIVE STRUCTURE

ABSTRACT / ACT I

11/28/2021 / MID REVIEW PHASE I ‘We are like cavemen, we can see only the shadows of the real truth, their manifestation in this world, and not their real essence.; Plato’s Allegory of the Cave. The will to live is what keeps us prisoners in the cave, manipulating our lives like we’re some kind of puppt, keeping us in the cycvle of pain and boredom. The spectrum of pain and boredom symbolizes as the forever changing desire to be fufilled and achieved our imaginative ideal ‘I’; Lacan’s Mirror stage. A constant loophole in life, in dividing individuals into habitus that categorixed ourselves based on our believes as we distinct ourselves into neglection or unity. Therefore, we are different they way we are, or are we? As we are bounded by this imprisonment of society. To certain subjectivity is lost in the expedition of our lives, comsume by our forever changing desire. How should we seek our self identity? How should we see ourselves.

An open narrative display into the subject of culture differences and self identity.

can our environments sense us?

GROUPWORK

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PHASE I / Responsive strucutre

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PHASE I / RESPONSIVE STRUCTURE

Allergory of the cave, Mirror stage / ACT I

Ananlogous drawing - The imprisonment of subjectivity

can our environments sense us?

Summarising the origin of subjectivity The prisoners in the cave, The shadows and the game, the escape into an expedition, Lost in expedition, habitus of neglection or unity, Mirror stage and the shadow of contradiction. The paradoxical truth, the constant loophole in life.

GROUPWORK

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Research / Inspiration / Narrative

THE ORIGIN OF SUBJECTIVITY Extended Research / Analysis - Philosophical Enquiry Allegory of the cave / Mirror stage

In the life-long exploration of reality, the only time of identifying self as idiosyncratic is during the purest stage of human development, infancy. Lacan emphasized when an infant encounters a reflection of its body image, an irreconcilable paradox emerges through the misrecognition of objectification between subject and object, known as the mirror stage theory .

In accordance with another philosopher, Plato illustrated through the allegory of the cave that ‘ We are like cavemen, we can see only the shadows of the real truths, their manifestation in this world, and not their real essence.’

This illustrates the normality of the given reality as the shadows of imprisoning subjectivity into adapting a world of what it is.

Despite the imaginary/pre-linguistic stage of an early infant, the lack of language and signifiers are affected by the compromising visual field of an infantile cognition.

Additionally, Plato stated that ‘the will to live is what keeps us prisoners in the cave, manipulating our lives like we’re some kind of puppet, keeping us in the cycle of pain and boredom’ . The story entails the representation of the above statement emphasized on the manifestation of the perceiving reality deceived subjectivity within the shadows of pain and boredom. A metaphorical symbolism on the loop of fulfilling our forever-changing desire in seeking the temporal pleasure of happiness and satisfaction, individuals forcefully adapting themselves into a given society where truth has been set out for, hence diluting individuals’ perception.

Thus, a deception to our senses in the real towards the perception of self, mentally only an ideal desirable loophole towards an imagination of our ‘I’. Nonetheless, individuals are granted the ability to question the shadows within the cave in their cultivation of expedition which is beyond our empirical knowledge. Whilst subconsciously and mindlessly dwelling within life without seeking and discovering the truth. In the rapid growth of socio-economic and technological gain, innovations and discoveries are developing new interpretations of its historical manifestation of representation, a constant loop of imitating its past towards the future.

Through being and time , Heidegger stated that subjectivity is shaped by the fragmentation of memory through time-based experience. Each and every fragmented trace and memorable experience become the surge of new knowledge that influences and affect the subjectivity of an infant.

As Lacan illustrated that the so-called subjectivity is an objectification of an ‘Ideal I’ in achieving the ‘desire of the other’ as ‘the self is the other’ . The introduction of an already pre-existing society is an accumulation of a collective symbolic socio-cultural and linguistic environment, known as the ‘gaze’ .

With subjectivity perceived itself as authentic self, the collective desires have been a concretized representation throughout history, where subjectivity adapts into a world that is shaped and bound by others. Hence, the ‘ideal I’ is a construct of the prior empirical subjective knowledge one perceives themselves as, becoming a collective of the ‘others’ within the ‘gaze’ .

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PHASE I / RESPONSIVE STRUCTURE

Allergory of the cave, Mirror stage / ACT I

Habitus - Neglection / unity

can our environments sense us?

In the instance of freedom from the known, Krishnamurti stated that humanity has become a mere repetitive machine that has taken references to history in re-interpreting objectification inwardly and outwardly. The so-called distinct characteristics in individuals are based on imitation, in the instance of education, social structure, and religious life. Apart from the extrinsic factors, intrinsic qualities such as psychological factors are affected by cultural background and the fragmentation among memory, experiences, lessons, and journey throughout our lives. As a result, humanity has ceased to be creative and authentic in recognizing, dissecting, and distinguishing the shadows within their lives.

Embedded with the acknowledgment of fitting into a particular social or religious formula, dwell within a shadow across the cave that we perceived as our ideal desirable self. Our responses correspond to the pattern of society as well as the expected perception of the gaze that had upon us. Moreover, dividing humanity into habitus, categorized ourselves based on our beliefs in distinguishing our distinct role into neglection or unity prior to the representation of the various shadows within the cave. Therefore, prisoners are different in their own shadows of their perception, or are they?

THE PORTRAYED WORKs

INSPIRATIOn - DEVELOPMENT to be explored

- Analogous drawing: Summary of the origin of subjectivity. Concluding the linkage and reinforcement between allergory of the cave and mirror stage theory. Into various additional theory by Heideggar’s fragmentation of memory and Krishnamurti’ habitus.

A drawing illustrates the imprisonment of subjectivity.

In leading up to the development of the responsive structure, incoporating such philosophical enquiry into the narrated background of our model is cruicial in the process of conceptualising the physical essence of a responsive structure that allow users to experience such theoritcal expedition in self.

‘Self is the others, a collective gaze .’

It has to be interactive in corresponding to the reflection of self identity. Unique experience into an open narrated journey of themselves.

The following representation of works demonstrate the linkage and translation of concept from inspiration to realization, collective experience, design intent tectonic approach, structure integrity; explorating and providing a sense of curiosity in understanding the origin of subjectivity in acknowledging the imprisonment of subjectivity. A responsive structure that senses our body image in immerse our senses into a journey of individuality.

- Animation as immersive experience: An animated summary of the origin of subjectivity, the history, the present, and the future.

GROUPWORK

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Research / Inspiration / Narrative

Animation

ANIMATION IMAGE CLICK

Animation as an Immersive experience - Poetic space / The imprisonment of subjectivity . Animation Script

How long did we stay as cavemen to realize we are looking at shadows? We reflect ourselves, awaken, fragmented by everything you have known, perceived, molded, but still being inspected and under surveillance all along. What are you? The behaviour shaping you are not authentic, you are a product of this world, you shape the world! Don’t you see? The never ending suffering of photocopying the world kills originality, discourage creativity. Take no presumed perception for granted, we fond understanding, understanding needs communication, compassion; rather be a freeman in the grave, than enslaved by subjectivity.

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PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

SELF REFLECTION / MIRROR

FRAGMENTATION BEI

can our environments sense us?

SELF as subject

OBJECTIFfying SELF

THEORY IN TRANSLATION User Experience / Experimentation / process / concept

GROUPWORK

OBJECTIVEs

Process conceptualising

Our responsive structure aims to immerse users into an interactive experience upon self identity. Incorporating mirror stage theory, and the understanding of an individual. ‘The paradox between subject and object’, ‘objectification of a subject,’ ‘ the fragmentation of memory in shaping individual, such equiry into subjectivities’ expedition upon the responsive structure have to be achieved. Capturing our self reflection as key, allowing the solitary of self to be portraited as subject of the experiment.

Such open narrative experiment allows subjects to digest the sequence of understanding the philsophical equiry towards self.

Adopting the game of exquisite corpse, from singularity to the collective. The transition of conceptualising the user experience and the metaphorical gesture of each sequences are essential in immersing users’ representation of the acknowledgment of self. Distance becomes the triggering element of such experience. from far to close, each and every steps users take closer in seeing the reflection of self, the responsive structure react upon our actions, a structure that sense our movement into various representation of metaphorical gesture, allowing individuals to experience the journey of the paradoxical truth.

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MISREGO

EXPERIMENT / PROCESS / TECHNICAL

ING

NEW INTERPRETATION

ONITION OF SELF

SELF IS A BLUR

OBJECTIFICATION OF SELF

User experience - Sequences of experimentation

Along the sequence through the curiosity and engagement that lure and intrigue users into looking closer into the experience, into seeing more and clear on their own reflection. An inverted image is triggered, an instant objectification of self can be realised. The digital devices disintegrate our self reflection into fragmentation of individuals, a metaphorical gesture on our memory is shaped by our experience and the gaze. A new interpretation of our body image, in which our new self becomes an object of our perceptual reality. Creating conflicts upon self, in the objectificatino of self the closer the users get, the unclear of who they really are all along.

Prelimilary Sketch of responsive structure. Exquisite Corpse In the understanding of the game exquise corpse. Creating a form of responsive srtucture that corresponds to the capture of individual’s, able to depict the orientation of our body part, deintergration in forming a new interpretation of the others. A game of interaction across the collective.

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SELF is the others

PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

can our environments sense us?

Moving mechanism Process model 1.

Experimentation on the tension between bearing, utilising arduino as a form of coding and provider to the actions of rotating the motor. Allowing the movement of band to rotate by itself.

GROUPWORK

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EXPERIMENT / PROCESS / TECHNICAL

TECTONIC APPROACH Components / Technology / Process MOVEMENT :Laser-cutting / 3d printer logic

In the translation of the concept into the technical aspect of the responsive structure, digital devices as the medium of capturing our self image, in which our actions can be perceived. In the mean of transitioning our body image into a fragmentation of a new interpretation of self. Numbers of digital devices are used into capturing our collective self, through orientation and direction of our body movement towards the responsive structure, a structure integrity that could hold up the weight of digital devices simultanously allowing the devices to be moved accordingly to the intended positions of the movement being detected. The mechanism of laser-cutting is adopted into the logic of its movement, working with its X and Y axis structural layout in order to allow the movement of the digital devices’ holder to maneuver freely.

Technical integrity Exploded Diagram.

Process model 1 Components used; bearing, rubberband, wheels, screws, motor, metal plate, arduino motor.

Into the first attempt of the test model, we initially used bearings alongside a belt to move the middle wheel left and right. Despite this iteration successfully moving the wheel, the lack of stability caused the tablet to vibrate vigorously as it slided from left and right. Additionally, as we require several tablets to move laterally, this method becomes too unstable.

Technical integrity ProcessModel 1 .

Components used; bearing, rubberband, wheels, screws, motor, metal plate, arduino motor. Lack of stability on holding upon the digital devices.

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PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

PROCESS / FINAL MODEL MOVEMENT MECHANISM

can our environments sense us?

Proceeding to the second attempt of experimenting with other methods on the movement mechanism, process model 2 has demonstrated by using two rods. A threaded rod and a regular aluminium rod. The threaded rod attaches to the motor acting as the mechanism which pushes the tablet from left to right. The other rod is there for stability. Compared to the last iteration, this method deemed to be much more successful, however it was seen that 1 anchor point + the threaded rod was still not enough to create a smooth flow.

Therefore, in order to improve the stability of the moving mechanism, Our final iteration provides two supporting rods with the threaded rod in the middle. This proved to be the most successful of the three with little to no flaws. Allowing fluidity upon the movement in any intended geometry.

Technical integrity - Final iteration Installation Final model Components used: Components used: Threaded rods, regular aluminium rod, motor, arduino, metal plate structure.

GROUPWORK

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EXPERIMENT / PROCESS / TECHNICAL

Technical integrity Exploded Diagram.

Process model 2 Components used; threaded rod, regular aluminium rod, motor , arduino

Technical integrity Exploded Diagram.

Process model 3 Enhanced stability version final model Components used: Threaded rods, regular aluminium rod, motor, arduino, metal plate structure.

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PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

Junction mechanism - assembly installation Components used: Screws, thread, motor, rod holder, metal plate.

can our environments sense us?

ATTENTION TO DETAIL Experimentation / Asssembly / Installation JUNCTION MECHANISM

GROUPWORK

In the experimentation of the responsive structure, the junction mechanism between the device holder and the movement system are important in carrying out a convincing installation. With movement of disintegrating and reintegrating into various orientation and position. A motor and threaded rod are connected with a coupling coupler in between an aluminium ‘ L’ shpaed bar.

The rotation of the threaded rod moves the tablet vertically horizontally. Two rods are added to enhance the stability of the movement. Allowing the coordinates of the devices to be positioned freely in corresponds to the system being coded through arduino.

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EXPERIMENT / PROCESS / TECHNICAL

A

F

B C

D E

F

Exploded detail of structure and motor.

A - Stepper motor B - Rod Holder C - Coupling Coupler D - Aluminium Rod E - Threaded Rod F - Aluminium ‘ L’ Shaped Bar G - 3D Printed Connector H - Optical Axis Slider

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PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

can our environments sense us?

3D Custom connection parts - connections to device holder and rods holder. Junction points.

3D Custom connection parts - connections to device holder and rods holder. Junction points.

GROUPWORK

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EXPERIMENT / PROCESS / TECHNICAL

CUSTOM PART TABLET HOLDER / Rods attachments - Connections

A 3D printed part connects the two supporting rods as well as the middle threaded rod. this device is then attatched to the tablet holder, ensuring a secure connection between all parts.

D

E

D

H

H

D G

E D

H

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Exploded detail of Custom 3D model

G

A - Stepper motor B - Rod Holder C - Coupling Coupler D - Aluminium Rod E - Threaded Rod F - Aluminium ‘ L’ Shaped Bar G - 3D Printed Connector H - Optical Axis Slider

PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

Code testing - Attention to software Co m p o n e t s used.

Stepping motor, wires, distance sensor, arduino board.

Coding / Arduino / wires / signals / distance sensor

can our environments sense us?

Apart from the structure integrity of the responsive structure, the software coding is important as well.

Incorporating the use of stepping motor and distance sensor, being able to implement such techology into allowing the different stages through distance can triggered an unique detection towards a movement. Each distance of detection can be used to trigger another action of intended command. In which each distance become a signifer into affecting the stepping motor to move, in the fragmentation of the devices of our perceived self, as well as a re-integration of our body image.

In which other effect can be triggered such as blurring through the use of touchdesigner, coding of timing and accuracy is cruicial in carrying out such creation of responsive structure.

GROUPWORK

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EXPERIMENT / PROCESS / TECHNICAL / aRDUINO CODING

Wire connection - Signals, wires, fuse, boards, components

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PHASE I / RESPONSIVE STRUCTURE

Experiment / PROCESS / ACT II

can our environments sense us?

Responsive structure - metal frame structure

GROUPWORK

Accuracy in finding the best dimension and suitable resources for the structure of our responsive structure.

EXPERIMENT / PROCESS / TECHNICAL / ASSEMBLE

Animation

ANIMATION IMAGE CLICK

Movement of devices - Fragmentation, disintegration, and re-integration

Through various testing on the coding and assembling the final mdoel, testing out the movemetn and reliablity of the mechanism being explored and used. The incorporation of laser-cutting movement mechanism, custom parts connections, and coding become the medium of carrying out such responsive structure.

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PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

can our environments sense us?

Metal frame structure - responsive structure footing Increasing stability to the ground, with extra supporting at the bottom. Rectanglar frame has been adopted to the design, due to the X and Y axis of movement. Such frame allows the maximum structure support to the device and the movement an inspiration taken from a horzontal placed laswer-cutter.

Now is being placed vertically.

GROUPWORK

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EXPERIMENT / PROCESS / TECHNICAL / ASSEMBLE

Framing assemble - Structure frame Enhancing the stability of the individual frame, horizontal metal plate has been added into the avoidance of shaking. Frames are installed onto a board in allowing mobility into transfering and moving the mdoel. The height of the frame has been considered, aroudn 1.70 as the average height in hong kong. Allowing an acceptable range of capturing our body

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PHASE I / RESPONSIVE STRUCTURE

Responsive structure / ACT II

can our environments sense us?

Animation

ANIMATION IMAGE CLICK

Final testing on responsive structure - Assemble process GROUPWORK

Digital devices are attached, camera is attached, connections to coding and arduino board are installed. The imprisonment of subjectivity, a responsive structure that dwells unders within the story and understanding of our perceptual self in raising an open narrative to the public for further discussion.

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EXPERIMENT / PROCESS / TECHNICAL / ASSEMBLE

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PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT III

RESPONSIVE STRUCTURE Structure integrity / Instruction ASSEMBLY - EXPLODED DIAGRAM

1. The responsive structure device consists of 9 compositions, each able to support the weight of a tablet. The close placement of the structures allow for the tablets to project a legible image of the user’s body.

2. The responsive structure runs either vertically or laterally. The distant moved by the tablets are determined by the user’s distance from the structure This is accomplished by using an Arduino Sensor.

3. The structure is operated by a stepper motor.

In order for the tablets to perform a smooth transition from one side to another, 2 steel rods are installed for stabalization. In addition, a long strew rod is connected to the stepper motor, controlling the speed and distance travelled.

can our environments sense us?

Each stepper motor is connected to a coded Arduino which commands the exact speed and distant necessary.

GROUPWORK

Responsives structure - Exploded diagram Structure integrity, user experience sequence, and distance as the point of activator. Assembly of responsive structure from 9 layers of compositions of devices, an installation that lures and atracts individuals into the understanding of self.

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PANELs / representation / technical / drawing

Fig.

Fig. 7

THE REFLECTION THE BLURRED |

|

0m

1m - 1.5m THE FUSION |

1.5m - 2m JOURNEY TO THE FUSION | 2m - 2.5m THE MIRRORED & | 2.5m - 3m THE OBJECT

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PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT III

VISCERAL EXPERIENCE Responsive structure sequence diagram Stage 1 / 2. Irreconcilable Paradox (subject and object) - Mirror and Inverted image From a normal person standpoint, The perception of our reflection in the projection is often perceived as our whole self. (A normal projection of ourselves in size 1:1) A reflection of our own subjectivity. However, our own image is often inverted in real life, with the addition of the different size in projection create an illustration of how we perceive ourselves.(projection changes to an inverted self and the different size projection.)

This illustrates the projection created an illustration of an alternative image of ourselves, distinguishing it as an object of an illustration, rather than a subject of I, creating a misrecognition in our own perception. This signifies the distinction between subject and object, slowly realizing this alienated projection object of ourselves is an alternative imagery of ourselves. It creates a sense of curiosity, and new interpretation of how we could look like alternatively.

Stage 3 Fragmentation being Human being is an unintegrated collection of thought fragments, memories. There is no relationship to one another, quite contradictory and conflict with each other. As the projection slowly dissecting itself, participants will either be interested or disgusting by the fragmentation of themselves. However, It portrays how human being is indeed quite fragmented. We are often a collective of past memories, experience, and thought, perhaps some of these

elements might be contradicting with each other, these fragmentations have shaped us as an individual in the future. We are never percieve as whole, but rather a fragmented being.

The word individual is derived from the Latin “in-” which means not, and dividere which means divide. The word individual means not dived or undivided. Human being is totally fragmented.

can our environments sense us?

STAGE 1

STAGE 2

STAGE 3

The mirrored state of yourself is the self image which the individual is most comfortable with.

An inverted image of an indivdual is realised, where the familiarity of their true image are then challenged subconciously. A moment of objectification of subjectivity.

The fragmentation of tabl individuals are composed habitus. We are deeply shap of memory, experience acro Our surroundings affect and choices.

THE MIRRORED

THE INVERTED

GROUPWORK

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THE FRAGMENTATION

PANELs / representation / technical / drawing

Even as I define myself as an individual, I am really not undivided. I am not whole. I am an unintegrated collection of thought fragments, memories. And because these fragments of thought have no relationship to one another, they are often contradictory and in conflict with each other. So the prevailing state of my mind is chaotic.

N

lets signifies how we as of divided into diverse ped by our divided sense oss space, time and place. our lifestyle, personality

Stage 4 The New image (Self is the other) Reframing the projection itself, each picturesque illustrate a different collective of body part. An abnormal piece of composition, allows the users a new interpretation of what the imaginative object as a whole is signifying.

Slowly digest each frame in attempting to separate their own body part with the others. Through confusion and unsure assumptions, such uncertainty portrays the idea of mix perception of ourselves.

“Self is the other”, due to what we percieve is entirely influenced and bound by the socio-cultural and linguistic environment from the outer existence, known as the gaze. what we desire is entirely concretized across the outside world. It is perhaps a fiction, an ideal imaginative desire we want to believe in fulfilling our satisfaction. However, it is totally adapted and made up by the collective of the outside world, which makes it about others rather than “Self ”. There is never going to be self, but the only ideal imagination of our “I”. This illustrates perhaps your are part of a society that unconsciously adopted into.

Stage 5 The Blurred / Signifying identity These experience signified a blur in users’ own identity, it is indeed no longer clear to themselves. What is self? The things we are doing is it what we desire based on an ideal imagination by the collective of the outside world? Creating an open narrative in questioning their identity and origin of themselves.

STAGE 4

STAGE 5

A new composition of a self interpretation, an objectification of self image emerges as individuals re-caliber and manevour around space in a new form of self identity. Where our image is no longer regonisable, it becomes a collective of body part.

Re-composing the body back into a whole self, reflects our state of being. This image differs from “The Object”, as individuals approach closely, the blurriness occurs and it is no longer clear to individuals. Who are we behind the curtains?

THE NEW IMAGE

THE BLURRED

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PANELs / representation / technical / drawing / PHOTOGRAPHY

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PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT III

can our environments sense us?

GROUPWORK

42

PANELs / representation / technical / drawing / PHOTOGRAPHY

Animation

ANIMATION IMAGE CLICK

User experience - Responsives structure

Experience sequence being shown in the animation, Distance as a signifer in triggering various effect through the journey of self exploration and the reflection of self identity. An open narrated responsive structure that senses individual’s actions and movement, in triggering an unknown towards self.

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PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT IV

can our environments sense us?

THE IMPRISONMENT OF SUBJECTIVITY Storytelling / Narrative / Animation

In translating such narrative into storytelling, metaphorical representation has been taken into account. Incorporating panopticon as a form of inspiration to the entire sequence and message behind the curtain. As individuals are constantly understand survillence of the others, we are a prisoner of itself. Through the entire narrative, movies and references are represented within the film, a story that inspires, triggers, influences, the acknowledgement of the origin of subjectivity in how within surrounding dominance of the environments, how this responsive structure can react to individuals’ perception into hindering into the questioning of ourselves as self. The imprisonment of subjectivity.

The imprisonment of subjectivity

GROUPWORK

Script - “I bet we always try to mould a ritual for ourselves, right? When to wake up, get to work on time, work hard, get some well-deserved break, back home, and reward ourselves with quality time, ticking all the boxes the society wants you to fulfil. Turns out you are photocopying yourself. There seem to have a formless seduction of endless pursuit for something along your life journey; subconsciously we are stuck within the constant loop of for ever-changing desire and engineered to survive in today society. By falling into the limbo, turns out we never really live, but hope to live. “

46

ANImaTION / STORYTELLING

Plato’s ALLEGORY OF THE CAVE - MUndane life, Shadows Scene 1. A reference to allegory of the cave, we live beneath the shadow of the real truth. In our everday life, we work to sustain our living cost, we entertain ourselves for temporary pleasure of happiness and distress , we picture ourselves to achieve a targeted desirable body image, we socialize in expanding our social knowledge and network. Loophole of shadows, that we are stuck within. Repetition of life and shadows.

The lost of identity

Jacques lacan mirror stage theory / ECRits Scene 2. A reference to mirror stage theory. as part of the fragmentation of knowledge that we know upon this reality.

The information and knowledge we percieved and acknowledged the self is the other. We are the collective of the gaze As he describes each and every metaphorical symbolism reflect on his quotes and on his theory. In which guiding viwers towards the story of the imprisonment of subjectivity.

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Scene 3. Slowly the frame of a projection TV frame emerged in playinig each and every content in the setting of a tv. TV frame symbolizes the ideal self of our desirable imaginative body image - though the everyday gaze Empirical body for self as seen by the gaze. We are constantly being watched and monitored. A metaphorical gesture towards survillence of our daily life, is perhaps made up by the collective of the gaze. As Lacan becomes part of this gaze, our known knowledge and information, personalised details about self is under the gaze of the collective as we are part of this gaze.

PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT IV

can our environments sense us?

Picturesque of a colLective gaze

GROUPWORK

Scene 3. With the Tv as the metaphor of we are cosntant under surveillance by the gaze, adopting the concept of panopticon, a watch tower in the middle that each and every prisoners are cosntantly being watched. We are often interchanged between subject and object, as we are one of the prisoners of this world. Constantly watching and monitoring by the others as well as the opposite. Millions of Tv represents as the knowledge and information that we perceived ourselves as, once was our so called Self. In which references to movies e.g fight club, matrix, modern times, the truman show and many more; these are used as a metaphorical gesture as the contents of the TV. In which overwhlemed by such scenery of television, how should subjectivity see what is their to take possession of? what is their role in the world in which they can really see themselves as self? As the background of the scene becomes a studio storage room, a metaphor of our perhaps we are playing a role in our life that we have been given out of our choice so how should we see ourselves.

48

ANImaTION / STORYTELLING

The imprisonment of subjectivity

Script - “Rumours started that we first gain subjectivity by first looking ourselves into a mirror when we are infants, it’s called the Mirror Stage theory, through the objectification of self, we gain subjectivity, hence form identity. All you need is a gaze to start a catastrophe, we initiated a lifetime conversation with space, time and culture, therefore our perception were cast by our society. We call ourselves human being; but being is universal, classless, sexless, it is how our inner self identify with the other that makes the difference, ironically turns out, we are under surveillance by others in order to become self, our image is inverted to gain subjectivity frim objectivity. Here comes the question, what is you?

The behaviour shaping you along are just fragment of your true self, as your perception, teachings you’ve received are all comes from others. With aggressive expansion of social media, advertisement on how society portrayed an ideal image, were the desire you’ve been chasing along what you really want? Do you know why there’s a saying “You are the main character of your life?” maybe because your are just a stringed puppet all along.”

49

PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT IV

can our environments sense us?

SELF REFLECTION - FROM MACRO TO MICRO Scene 4. From millions of TV, into flickering of closer into our self reflection of our identity and body image. Perceiving ourselves as one, complete as individuals. The scale of screens become micro in focusing on who we are? As viewers immerse into the experience of such story, anyone becomes the subject of this experimentation. Seeing ourselves as a mirror form, the reflection of who we see ourselves in the mirror all the time. A subject we perceive as with no concern. A reference to our responsive structure. sequence as follows.

GROUPWORK

50

ANImaTION / STORYTELLING

The imprisonment of subjectivity

Script - “Rumours started that we first gain subjectivity by first looking ourselves into a mirror when we are infants, it’s called the Mirror Stage theory, through the objectification of self, we gain subjectivity, hence form identity. All you need is a gaze to start a catastrophe, we initiated a lifetime conversation with space, time and culture, therefore our perception were cast by our society. We call ourselves human being; but being is universal, classless, sexless, it is how our inner self identify with the other that makes the difference, ironically turns out, we are under surveillance by others in order to become self, our image is inverted to gain subjectivity frim objectivity. Here comes the question, what is you?

The behaviour shaping you along are just fragment of your true self, as your perception, teachings you’ve received are all comes from others. With aggressive expansion of social media, advertisement on how society portrayed an ideal image, were the desire you’ve been chasing along what you really want? Do you know why there’s a saying “You are the main character of your life?” maybe because your are just a stringed puppet all along.”

51

PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT IV

can our environments sense us?

Inverted reflection - Objectification of self

GROUPWORK

Scene 5. The inverted images created . A moment of alienation as objection .Recalibrated and it’s a inverted reflection of ourselves our true self . A reference to lacan mirror stage theory. Irreconcilable Paradox (subject and object) - Mirror and Inverted image From a normal person standpoint, The perception of our reflection in the projection is often perceived as our whole self. (A normal projection of ourselves in size 1:1) A reflection of our own subjectivity.

However, our own image is often inverted in real life, with the addition of the different size in projection create an illustration of how we perceive ourselves. (projection changes to an inverted self and the different size projection.)This illustrates the projection created an illustration of an alternative image of ourselves, distinguishing it as an object of an illustration, rather than a subject of I, creating a misrecognition in our own perception. This signifies the distinction between subject and object, slowly realizing this alienated projection object of ourselves is an alternative imagery of ourselves. It creates a sense of curiosity, and new interpretation of how we could look like alternatively.

52

ANImaTION / STORYTELLING

The imprisonment of subjectivity

Script - “Rumours started that we first gain subjectivity by first looking ourselves into a mirror when we are infants, it’s called the Mirror Stage theory, through the objectification of self, we gain subjectivity, hence form identity. All you need is a gaze to start a catastrophe, we initiated a lifetime conversation with space, time and culture, therefore our perception were cast by our society. We call ourselves human being; but being is universal, classless, sexless, it is how our inner self identify with the other that makes the difference, ironically turns out, we are under surveillance by others in order to become self, our image is inverted to gain subjectivity frim objectivity. Here comes the question, what is you?

The behaviour shaping you along are just fragment of your true self, as your perception, teachings you’ve received are all comes from others. With aggressive expansion of social media, advertisement on how society portrayed an ideal image, were the desire you’ve been chasing along what you really want? Do you know why there’s a saying “You are the main character of your life?” maybe because your are just a stringed puppet all along.”

53

PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT IV

can our environments sense us?

Fragmentation of being - Thoughts, experience, memories Scene 6. The closer indvidual want to see clearler of themselves, the motion of fragmentation triggered. It is derived from the Latin “in-,” which means not, and “dividere” which means divide. So the word “individual” means not divided or undivided. But even a cursory look reveals that the human being is totally fragmented. Each and every memories, thoughts and experiences are an accumulation of one external experience, which we can identify self in the others.

GROUPWORK

54

ANImaTION / STORYTELLING

The imprisonment of subjectivity

Script - “The first step to solve a problem is to realize there is one. We imprisoned our true self by how our society sees us, it is up to us to pick up our fragmented part piece by piece to realise our body image, rather than taking our presumed perception for granted; to derived from Latin, “in-,” which means not, and “dividere” which means divide, the word “individual” means not divided or undivided; we are not complete, your fragmented self are formed by an accumulation of your external experiences; memories and thoughts. Self-identity is a blur, the closer you

55

PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT IV

can our environments sense us?

A new collective interpretation of being - Misregonition of self Scene 7. Closer into seeing self in the reflection of the TV. Our body image becomes a new interpretation of ourselves, in such we no longer regonize as us, an objectification of the others. A reconfiguration of self with a collection being Trying to find your body part, the misrecognition of self signifies the idea of yourself is a part of the outer society. Self is the others, a collective gaze.

GROUPWORK

56

ANImaTION / STORYTELLING

The imprisonment of subjectivity

Script - “The first step to solve a problem is to realize there is one. We imprisoned our true self by how our society sees us, it is up to us to pick up our fragmented part piece by piece to realise our body image, rather than taking our presumed perception for granted; to derived from Latin, “in-,” which means not, and “dividere” which means divide, the word “individual” means not divided or undivided; we are not complete, your fragmented self are formed by an accumulation of your external experiences; memories and thoughts. Self-identity is a blur, the closer you

57

PHASE I / RESPONSIVE STRUCTURE

THE IMPRISONMENT OF SUBJECTIVITY / ACT IV

can our environments sense us?

Self identity is a blur - Who am i ? The imprisonment of subjectivity Scene 8. The closer you look, the less and unclear you see From large macro scale to micro We perhaps are not clear about who really are. These experience signified a blur in users’ own identity, it is indeed no longer clear to themselves.

What is self? The things we are doing is it what we desire based on an ideal imagination by the collective of the outside world? Creating an open narrative in questioning their identity and origin of themselves.

GROUPWORK

58

ANImaTION / STORYTELLING

ANIMATION IMAGE CLICK

The imprisonment of subjectivity

Script - “The first step to solve a problem is to realize there is one. We imprisoned our true self by how our society sees us, it is up to us to pick up our fragmented part piece by piece to realise our body image, rather than taking our presumed perception for granted; to derived from Latin, “in-,” which means not, and “dividere” which means divide, the word “individual” means not divided or undivided; we are not complete, your fragmented self are formed by an accumulation of your external experiences; memories and thoughts. Self-identity is a blur, the closer you examine yourself, the less you understand. Maybe it is a lifetime exploration, but rather be a free man in the grave, than enslaved by subjectivity.”

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PHASE II / WEARABLE DEVICE

THE TEMPORAL IMAGINATIVE REALITY

how do we sense our environments?

INDIVIDUAL WORK

60

INSPIRATIOn / RESEARCh / PHILOSOPHY

Jiddu Krishnamurti - Freedom from the known

‘ To be fee of all authority, of your own and that of another, is to die to everything of yesterday, so that your mind is always fresh, always young, innocent, full of vigour and passion’

Arthur Schopenhauer - The world as will and representation

Arthur Schopenhauer 26. ‘ If a man does not love solitude, he will not love freedom; for it is only when he is alone that he is really free’ ‘ Form the habit of taking some of your solitude with you into society’

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PHASE II / WERABLE DEVICE

ABSTRACT / ACT V

THE TEMPORAL IMAGINATIVE REALITY How do we sense our environments? How do we take possession of the world as it has given to us ?

Consider ourselves’ thought throwing through city’s mind, as cities’ conflicts are abundant and diverse.

What we percieve ourselves as our true self is just a mere perception of our imagnative desirable ideal self. As we are often bounded by this society alone, whatever we experience through social media and consumerism, is just an interpretation of the gaze that we are constantly under surveillance by the gaze.

Where we could identify ourselves in the others, as what we see and experience in fragmentation of memories are just a mere shadow of this society. Individuals are lost as we are apart of the others. What are we without the gaze of the others, how would humanity perpetuated in solitude alone. What is our self identity?

The next move - What is authenticity? How can we see our perceptual reality as ours?

It is the free will to be in solitude that is the key in recognizing the truth. It is important to question and seek the truth behind the curtains, where in solitude we are able to understand and discover the existential quality and characteristics of our own true self. Liberate and disintegrate yourself from the gaze, where we are constantly under surveillance as we care so much about the other’s gaze in acting the way we want the gaze perceives ourselves as. It is expressive, authentic, instant, and entitle to own embodiment of interpretation.

how do we sense our environments ?

Teasing the subconciousness / The temperal imaginative reality of the actual - The unknown towards self expedition How do you take possession of the world as it has given to us? This project aims to tease the subconscious, where the subconscious realm is often impossible to be extracted into a form of authenticity in reality.

Predict the unexpected / uncertainty / indeterminacy, speculate things and events that are instant and lack of anticipation. Pondering on the free will of the subconscious self, exploration and expedition are carried out without prior knowledge of anticipation. It is paradoxical and an unknown, where space, time, place and being coexist simultaneously.

An universal embodiment - Adaptive Instrument Utilizing an instrument in perpetuate our subconscious into the merge between reality and imagination, operate as an activator of the subconcious self in constructing an expedition to be layered into the real. Establishing a temperal dialogue between the imaginary and reality, through an experimental journey across desirable places that entitled to individuals’ expedition of exploration. Altering what our mundane journey into a representation of our craft, our instrument in creating authenticity through the extension of our skin.

The outcome - Uncertainty extraction The unknown of uncertain is extracted in a form of visualization, an alternative reality that signifies individualism to the extreme. It is expressive, instant, and entitle to subjectivities’ own expedition upon their own discoveries. As authority of the world is back on our hands, it is taken upon us how we take awareness of the process/methodologies in carrying out the impactness of the experience.

It is subjective to its objectification of interpretation in re-igniting curiosity and exploration within the perceiving world, where it could spark conversation in the realm of imaginative reality and self entitlement in breaking boundaries amoung habitus.

INDIVIDUAL WORK

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PE RPETUAL INSTRUMEN T

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PHASE II / WEARABLE DEVICE

PERPETUAL INSTRUMENT / ACT V

how do we sense our environments?

INDIVIDUAL WORK

64

PHASE II / WEARABLE DEVICE

12/06/2021 / MID REVIEW PHASE II How can we perpentuate ourselves into the exploration and taking possession of the world that has been given to us? This project aims to tease the unconscious, where the unconscious realm is often impossible to be extracted into a form of relation in reality. Predict the unexpected / uncertainty / indeterminacy, speculate things and events that are instant and lack of anticipation. Pondering on the free will of the subconscious self, exploration and expedition are carried out without prior knowledge of anticipation. It is paradoxical and an unknown, where space, time, place and being coexist simultaneously.

Utilizing an instrument in perpetuating our subconscious into the merge between reality and imagination, operate as an temporal activator of an adaptive imagination narratives in constructing an expedition to be layered into the real. Establishing a dialogue between the imaginary and reality, through an experimental journey across desirable places in motion through a series of (habit that could represent a subject as an individual/ daily habits.

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PHASE II / WEARABLE DEVICE

BIRTH OF THE SUBJECT / ACT V

how do we sense our environments?

INDIVIDUAL WORK

INSPIRATIon / Research / philosophy - Krishnamurti’s Freedom from the known Jiddu Krishnamurti, Freedom from the known ‘ To be free of all authority, Identifying ourselves in the others, therefore we are structured fitting into of your own and that of another is to die to everything of yesterday so that a particular social or religious formula (Habitus) that we perceived as our your mind is always fresh, always young, innocent, full of vigor and passion’ ideal desirable self. Our responses are conditioned according to the pattern Imitation - In today’s society, we have ceased to be creative as we are born of society, integrating ourselves corresponding to the influence and the and engineered to adapt to today’s society’s imprisonment. We are a mere required perception of the gaze that has been offered to us, no matter its repetitive machine that copies inwardly and outwardly, where creativity is unity or neglection. We are living off imitation that bound our creativity to no longer required in modern times. The so-called distinct characteristics be curious and explore. in individuals are based on imitation, in the instance of education, social Authority - This is due to our whole physical, mental, and psychological structure, and even religious life. Apart from the outer factors, inner qualities makeup being based on authority, where it is up to us to seek and uphold such as psychological factors, etc; are affected by cultural background and the freedom from authority. Freedom of creativeness is a sense of release, each fragmented memories, experiences, lessons, and journeys throughout where it is an instant and no repetition in the existence of reality. It is indeed our lives. Creativity is no longer needed in most roles in the world, the fresh, new, and creative. mode of survival in sustaining our lives is key.

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PROLOGUE / INSPIRATION / RESEARCH / Narrative

BIRTH OF THE SUBJECT The paradoxical truth - Room of individualism PROLOGUE Flesh and stone merged one and a half million years ago. The first axe took on life the moment Homo Erectus raised it, becoming an extension of the hand that wielded it and the mind that desired the fruits of its power. We needed that axe because we lack claws, have thin fur, and move slowly. We define and redefine the extent of our agency and even our humanity through the tools we create, from the stone axe to the wheel, woven cloak, tempered glass, hashing algorithm, motherboard, and nanovirus. Now – we immortalize in media sites infinitesimally small, deep, and far, while our faces and voices are summoned by friends long after our bodies have been absorbed back into the earth.

We have thrust our power and desires into the world, pushing back to the point where the outside meets the inside, where we are forcefully engineered to adapt to society’s imprisonment.

Prologue drawing - Room of individualism. Question on Self expedition The various fragmentations of knowledge, memory, information, and many more shaped who we are today in the society, fulfilling our given role. In what way we could breach this gap of imprisonment in the room of individualism, how could we escape from this reality?

What is really ours to take possession of? From the collective to individual, what is our authenticity?

INSPIRATIon / Research / philosophy - The world as will and representation Arthur Schopenhauer The world as will and representation Arthur Schopenhauer 26.

Authenticity, originality, and its primitive ‘ If a man does not love solitude, he will not love freedom; for it nature are essential in curating our thoughts is only when he is alone that he is really free’ / ‘ Form the habit of and mind in rethinking space, time, place, taking some of your solitude with you into society’ and being. It is often expressive and instant, Solitude with Subjectivity ( Free Will ) - It is the free will to be in where we could extract our subconscious solitude that is the key to recognizing the truth. It is important freedom into various methodologies. Either to question and seek the truth behind the curtains, where in through, Art, dream, meditation, nature, etc; solitude we can understand and discover the existential quality it is subjective to individuals in expressing and characteristics of our true selves. Liberate and disintegrate their form of freedom towards their distinct yourself from the gaze, where we are constantly under imaginative desirable interpretation and surveillance as we care so much about the other’s gaze in acting objectification. the way we want the gaze perceives us.

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PHASE II / WEARABLE DEVICE

Perpentual Instrument / ACT VI

how do we sense our environments?

PERPENTUAL INSTRUMENT Theory in translation Objectives Through various theory in taking the next step of in search of self identity. How can we perpentuate ourselves into the exploration and taking possession of the world that has been given to us? This project aims to tease the unconscious, where the unconscious realm is often impossible to be extracted into a form of relation in reality. Predict the unexpected / uncertainty / indeterminacy, speculate things and events that are instant and lack of anticipation. Pondering on the free will of the subconscious self, exploration and expedition are carried out without prior knowledge of anticipation. It is paradoxical and an unknown, where space, time, place and being coexist simultaneously.

INDIVIDUAL WORK

Utilizing an instrument in perpetuating our subconscious into the merge between reality and imagination, operate as an temporal activator of an adaptive imagination narratives in constructing an expedition to be layered into the real.

Establishing a dialogue between the imaginary and reality, through an experimental journey across desirable places in motion through a series of (habit that could represent a subject as an individual/ daily habits.

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Process / TecToNIC / Experimentation

69

PHASE II / WEARABLE DEVICE

Perpentual Instrument / ACT VI

how do we sense our environments?

ATTENTION TO DETAIL Tectonic / process Design intent / Sketch Through various theory in taking the next step of in search of self identity. Translating such theory into design and detailing become the key in allowing users in what we could sense the environment. Camera is adopted into different form of purpose; security surveillance, video recording, captivating imagery. Although it is indeed a tool in capturing history of the existence. Each and every moment is memorable and important to subjectivity, where it is entitled to the methodology in unleash its full potential. It is like a pen, where its components are its embodiment of functions.

Such instrument could create an impactful piece in recording and expressing its essence of an instant creative imagnative freedom.

Up above is a sketch of first design, utilizing as a form of centre gravity, holding up the goggles in allowing users to see through the lens within the monitor. incorporating sensors and detection in seeing the perceptual reality.

INDIVIDUAL WORK

70

Process / TecToNIC / Experimentation

VR lens - Seeing the close up Adopted VR lens into the device, allowing the users to see up close into the perceiving end, in which the accuracy between the monitor and lens can be adjusted into a suitable that is up close.

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PHASE II / WEARABLE DEVICE

Perpentual Instrument / ACT VI

how do we sense our environments?

Custom Phone holder - Connections to the device and arduino An accuracte form of modelling is needed in order to create out such precise technical approach in creating a device that can be slot into indivduals’ phone device as a point of activating the experience.

INDIVIDUAL WORK

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Coding - Arduino board Experimenting with mind reader, and hand gesture tracker. utilizing mind reading and hand gesture as a form of signifer in the experience of creating an effect that merge our known reality into an imaginative reality, which is temporal.

PHASE II / WEARABLE DEVICE

Perpentual Instrument / ACT VI

Main body structure - Stability and screw installation, considering the best possible solution in the fixation of compling different ingredients.

how do we sense our environments?

Structual Integrity / Sketch Experimenting with a custom structural base that could potentially instally a dissected camera lens in connection to adruino touch designer in allowing the capture of our surrounding perceptual reality.

Screws and precise calculation are considered into allowing the stability and construction of the main body part to be assembled.

Sketch. On the right its an iteration on how the form and structure integrity could be explored with functional leading up to the aesthetics of it uses.

Allowing maximum and minimum resources in curating such design intent.

INDIVIDUAL WORK

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Top view - Installation iteration Perspec plate is used to allowing users to see through the entire process and srtucture explosing its functions and mechanism to the users. Revealing and concealing its forms and its uses all at once.

PHASE II / WEARABLE DEVICE

Perpentual Instrument / ACT VI

how do we sense our environments?

INDIVIDUAL WORK

FInal model / Perpentual instrument Final model - Complete Installation The consideration of average head size has been considered, the distance between devices holder and vr lens are precise calculated into allowing the best possible angle and distance. Camera is installed into a fixated as part of a headset. Form of a headgear with goggles have been inspired with headband and head resting panel considered into allowing the best comfort and stablity to the users.

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Process / TecToNIC / Experimentation

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PHASE II / WEARABLE DEVICE

Perpentual Instrument / ACT VI

how do we sense our environments?

INDIVIDUAL WORK

Structural integrity - Installation and assembling of parts Precise calculation one creating installing headband in allowing the goggles to be attrached closely to our eyes. Screws are installed to ensure stability. with phone holder customised to the cleanest potential.

Vr lens are assembled. a see through design aesthestics emphasing the aim of its mechanism. Taken the form of headgear, with glassess and camera within the design. Become a device of perceiving a temperal merge between reality and imagnination all at once.

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Process / TecToNIC / Experimentation

79

PHASE II / WEARABLE DEVICE

Anatomy of ‘Pandora’s box’ / ACT VII

07_MINDW SENSOR TRIGGER/H SUPPORT

how do we sense our environments?

0 H

03_TOUCHSENSOR CAPTURE & OVERLAPPING MOTION /HEAD SUPPORT

01_OPTOMETRY VR LENS

02_SLOT IN STRUCTURE

04_PHONE HOLDER INDIVIDUAL WORK

08_CAMERA HOLDER

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Final iteration / technical drawing

ANATOMY OF ‘PANDORA’s BOX’

WAV E

HEAD 06_TOUCHSENSOR RESET

05_SCREW SUPPORT

09_HEADBAND HOLDER

Design intent / Technical integrity EXPLODE VIEW HEAD WEAR TECHNOLOGY 01_Optometry Vr lens 02_Slot in strucure 03_Touchsensor Capture/Overlapping with headband support 04_Phone holder 05_Screw support 06_Touch sensor reset 07_Mindwave trigger concentration / headstructure support 08_Camera holder 09_Headband holder 10_Touchdesign slit scan effect AESTHETICS / FUNCTIONALITY Camera Apparatus Inspired by the concept of historical camera aparatus, from camera is almost an instant gesture, where it is often a reminisce for the time being, that is often forgotten and left out in memories.

Starting from motionless beneath the first photograph that has been taken, from deserted to still to motion all at once. An extreme contrast between the past and present, where reality collides. .

VR HEADSET / OPTOMETRY Inspired by the structure of its purpose, the purpose of its ergonomic attribute in creating a suitable structure intergrity for comfort and functionality of the instrument.

STRUCTURAL INTEGRITY / MATERIAL INTENT - The structure integrity of the head gear is to utilise the minimum point of approach in creating a structure that could compensate both the phone device and vr lens with a secure and reliable support in creating a headgear that could sit comfortably on the wearable. A transparent apparent is adopted in signifying the idea of revealling of its operating structure and system in created an exposed appearance in the true essence of the device.

HUMAN BLINDER In a form of isolating self from the surrounding factors, enhancing concentration in putting our perspective inline with what we desire upon the world of prediction.

CANVAS OF ITS OWN A device for individuals’ craftmanship of the imaginative reality upon the perceiving world.

81

PHASE II / WEARABLE DEVICE

Anatomy of ‘Pandora’s box’ / ACT VII

how do we sense our environments?

Structural integrity - exploded diagram customised phone holder

The structure integrity of the head gear is to utilise the minimum point of approach in creating a structure that could compensate both the phone device and vr lens with a secure and reliable support in creating a headgear that could sit comfortably on the wearable.

A transparent apparent is adopted in signifying the idea of revealling of its operating structure and system in created an exposed appearance in the true essence of the device.

INDIVIDUAL WORK

82

Final iteration / technical drawing

Structural integrity - Implication of VR lens

Inspired by the structure of its purpose, the purpose of its ergonomic attribute in creating a suitable structure intergrity for comfort and functionality of the instrument.

83

PHASE II / WEARABLE DEVICE

Anatomy of ‘Pandora’s box’ / ACT VII

how do we sense our environments?

Self Portrait - Final model Applciation

INDIVIDUAL WORK

This is an exampler of how it sits and position itself on users. Relying on the support of headband , the overall tension can be support by the stability of the model structure as well s the head band gear. A sophisticated piece of device that can perpentual us into explore the world in the merge of a temporal imagnative reality.

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Final iteration / Self Portrait

85

PHASE II / WEARABLE DEVICE

BRAVE new world / ACT VIII

how do we sense our environments?

ANIMATION IMAGE CLICK

Brave new world - Perpentual instrument INDIVIDUAL WORK

Script -One and a half million years ago, flesh and stone become one. The very moment that Homo Erectus raised the first axe, it took on life. The every feeds of social media, the every lessons we have acknowledged in the books across the room of individualism Perhaps we are imitating ourselves we have creased to be creative as we are a mere repetitive machine Schopenahuer once said form the habit of taking osme of your solitude with you into society. Where you are truly free Authentictiy and originality are the essence of one true self, it is often expressive and instant It is the freedom to liberate your throughts and mind from authuroity is what important.

How do u take possession of the world as it has given to us As we perceive the world as it is as raw as it’s bounded the unauthentic territory of the real, what if we could perceive and experience the motion all at once. Creating a merge between imagination and reality, where a dialogue is created in teasing the subconcious desirable objectification across the world. The process is key Expect the unexpected, predict the unpredictable, a perpetual instrument for our free will to wield it in taking upon reality back into our visualization.

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Narrative / Storytelling

BRAVE NEW WORLD Narrative / Storytelling A diaglogue between imagination and reality How do you take possession of the world as it has given to us ?

PANDORA’s BOX - In accordance to Greek Mythology, curiosity led to her to open a container ( A JAR) left in care of her husband, thus releasing physical and emotional curses upon mankind.

Perhaps humanity advancements signify problems upon itself, as the different era emerged through centuries. Each and every perceiving reality is a new objectification of interpretation, that is rather just an improvement of its past. problems solve and re-exist in a different form of interpretation.

Where a temporal imaginative reality is indeed an antidote of freedom or an addiction of distortion.

AN ADAPTIVE TEMPORAL IMAGINATIVE REALITY - In the existence of time and space, we make predictions of the physical surroundings as we are constantly under controlled hallucination within our brain through stimulus. Reality is captured in either in a form of a still image behind a camera, or in continous motion one at a time in the perceiving reality. As we perceive the world as it is as raw as it’s bounded the unauthentic territory of the real, what if we could perceive, blur the boundary between reality and imagination, and experience the motion all at once. From motionless, to still, motion in full to imagination. Creating a merge between imagination and reality, where a dialogue is created in teasing the subconcious desirable objectification across the world. Layering the In-Between into the real beyond our eyes and prediction fo the world. An unknown that could be manipulated in liberating our thoughts and unexpected encounters upon the world.

BRAVE NEW WORLD - A utopian vision in biinding part of our senses in creating a stress-free (Freedom) place of odysessy.

Perhaps not so much, but a dystopian authority manipulative behind the curtains. As senses are blurred into existence, nothing is true upon being part of an artificially fixed reality. Ponding the free will to survive in the perceiving society. We are what we are, we fulfill a particular counter-part upon the society where we have subconciously adopted and adapted. As we mindlessly and pointlessly sustain our lives untill the last of our breath, we never question the perceiving reality and the desirable imaginative perception of our fake identity.

A ‘brave new world’ in the making, an antidote or an addiction in create an escape and liberate from what we know. It is a mere visualization mentally and spiratually amoung our eyes, that has been layered into the real, but not physically. However, an alternative in creating a new objectification of interpretation upon the percieving world that could re-ignite curiosity, exploration and creativity, an instant enlightenment that is uncertain unknown of the outcome, expect the unexpected, predict and unpredictable.

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THE PROCESS IS KEY FREE WILL - Pounding on free will, as we have the ability to manipulate and liberate our senses of reality. It is up to us to taken upon the various methodologies in carrying out the process of our discovery upon the perceiving world. Through the process of experimentation, the framework and awareness of the subconcious self is key, in creating a translation behind reality and imagination. As we have the free will to wield it, the reality is in our possession to take upon.

PHASE III / NARRATIVE SPACES

THE BECOMING OF INDIVIDUALITY

What world do we want to perceive?

INDIVIDUAL WORK

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INSPIRATIOn / RESEARCh / PHILOSOPHY

Rapahel - School of athens, 1509 - 1511

“All men are by nature equal, made all of the same earth by one workman.” “Books give a soul to the universe, wings to the mind, flight to the imagination, and life to everything.” Plato

LEbbeus woods - slow manifesto, anarchitecture, reconstruction

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“I’m not interested in living in a fantasy world … All my work is still meant to evoke real architectural spaces.

But what interests me is what the world would be like if we were free of conventional limits.

Maybe I can show what could happen if we lived by a different set of rules.”

PHASE III / NARRATIVE SPACES

ABSTRACT / ACT IX

THE BECOMING OF INDIVIDUALITY What world do we want to perceive? The Becoming of ontology The Anthropocene has brought upon an abundance of virtuality artifacts our perceptual reality is tempered with the fragmentations of memory across the forever mutating, repeating, and changing negotiation across the resemblance of the past, the temporal within the present, and the indeterminacy of the unknown future. In the perceiving reality each and every actions, thoughts, touch, sensation, and exploration become the accumulation of our memory, which our actual becomes the evidence of us striving for sovereignty, power, and control over our own interpretation of space in our mundane life.

The notion of time as becoming in tempering reality, in which the virtuality of the collective shapes our individual selves.

In the path of enlightenment, information and knowledge become our power of reach, digitalization, and the emergence of metaverse as a whole, Such tools become the extension of our skin, our digital virtuality which enrich our mode of representation towards individual exploration, power, and control over our perceiving reality. In which what is the manifestation of digital in the tangible world, do our thoughts and memory remain untouchable or just a virtual platform that is scattered across the world.

How could we take possession of such power?

What world do we want to perceive?

Deadspace becomes the starting point of manifesting our digital footprint, with the passivity of our digital virtuality becoming the metamorphosis of resurrecting a deadspace with the consumption of our digital needs. A self-growing mutating mechanism is used with various trucks of robotic arms growing and constructing the facilitator of the beacon in recycling our collective physical waste with recycling fragments of sorting, processing, and reusing its resources, and generating renewable electrical power.

It runs through two power cores one centralized robotic mechanism and a constructing platform, in leading up to the maintenance platform it is self-growing, self-constructing and endless other power cores become the supply of power to servers, projection of artifacts in our virtuality consumption. But why has it taken a form of an anarchitecture and why it is the way it is.

Our digital self becomes an alternative to how we see the world, in such becomes our sacred knowledge, privacy, and identity. With the passivity of the manifestation of the intangible form digital, its tangible manifestations become the database of collective memory, which such notion of tempering across past, present, and future, become our scared space of value and worship in knowledge and power of our own thoughts, actions, and memory Our digital data should be reformatted back into the collective’s possession over their personal privacy and manifested itself ontologically as it mutates and grows in accordance with our actions of passivity, as part of our nature.

In which not just its scattered representation of intangibility, but also its tangible manifestation in creating a bridge across virtuality. The collective of encounterment of becoming creates an intersection between different people’s ideas and thoughts. A metamorphosis of our collective memory in which has taken the form of an anarchtiecture healing and constructing of our becoming. Ornamentation of sacred and shrines are embedded with signals, wires, and connections of the manifestation of digital An anarchitecture approach that manifests in the open wounds of the city, deadspace across the land.

Formulating a new urban fabric as humanity is free by nature. Our virtuality artifacts manifest and heal the city itself.

INDIVIDUAL WORK

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VIRT UA L IT Y A RT E FA C T S ANTHROPOCENE ONTOLOGY

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT IX

12/06/2021 / FINAL REVIEW PHASE III / Abstract The Anthropocene has brought upon an abundance of virtuality artifacts our perceptual reality is tempered with the fragmentations of memory across the forever mutating, repeating, and changing negotiation across the resemblance of the past, the temporal within the present, and the indeterminacy of the unknown future. The becoming of such equiry to virtuality exploration upon the world. Digitalization becomes the representation of this becoming, manifests in the perceiving reality each and every actions, thoughts, touch, sensation, and exploration become the accumulation of our memory, which our actual becomes the evidence of us striving for sovereignty, power, and control over our own interpretation of perceptual reality. The notion of time as becoming in tempering reality, in which the virtuality of the collective is sacred and valued. As we are free by nature, the passivity of our knowledge and information shape the metamorphosis of the becoming, self constructing and mutating in the form of digitalization. A project that teases the intangible and the tangible, in which manifests ontologically in the form of anarchtiecture, in forming a new urban fabric upon an intersection towards collective ideas, thoughts, and memory.

What world do we want to perceive?

INDIVIDUAL WORK

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PHASE III / NARRATIVE SPACE

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PHASE III / NARRATIVE SPACE

The becoming of ontology / ACT IX

What world do we want to perceive?

INDIVIDUAL WORK

Collage - Summarizing the background knowledge in understanding the world of reality, the existential ideology of today society

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PROLOGUE / INSPIRATION / RESEARCH / Narrative

THE EXISTENTIAL IDEOLOGY The Path of enlightenment - Hierarchical Society PROLOGUE The path of enlightenment Thomas Hobbes’ Leviathan, John has hindered the ontological Locke’s state of nature and experience, anthropocentric dominance of Rousseau’s social contract, Karl Marx’s human evolution, taking possession communism, Plato’s ideal, Descartes’s of nature and the world by acquiring duality, Newton’s mechanics, the value of human happiness, means Heidegger’s being and time, Deleuze’s of reason, pursuit of knowledge, surge nomads and flows, and Einstein’s classical of information, and evidence of the causality; Enlightenment reason has human senses. Formulating ideologies brought an abundance of equality and such as liberty, progress, toleration, human dignity in valuing individualism, fraternity, constitutional government, but also the contradictory of inequality and separation of church and state and hierarchy in habitus and division. under the law of nature. Liberating ‘We are free by nature, but everywhere individuals’ freedom with reasons and is in chained. ‘ - Rousseau. While evidential knowledge subordinate to, promising freedom of choice by nature, but not in conflict with supernatural with reasons Ideologues have promoted occurrences, superstition, intolerance, conformity to fixed ways of thinking. divinity and bigotry. The reformation of human progression shapes the empirical knowledge upon the existential ideology.

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Hence, without reasons humanity would be full of violence and bloodshed over egocentric state of nature. In the urge of obtaining creativity over new information, and knowledges in the world as what can be seen, touched, and understood. Such freedom of exploration and discovery varies in the tangible expedition under the fragmentations of our nomadic memory and experience, altering the distinctive qualities, race, social class, and narratives of individuals. As individuals strive for sovereignty, power and control, dominance in the enquiry of our own desirable happiness, such exploration could be a mere fancy and illusion in the equilibrium of the hierarchical society.

VITUALITY ARTEFACTS:AN

Labyrinth

THE BECOMING OF ONTOLOGY

The becoming

Conceptualizing / research / narrative Design brief Becoming of ontology - A philosophical approach in understand the notino of time in which our perceptual reality is tempered with the fragmentations of memory across the forever mutating, repeating, and changing negotiation across the resemblance of the past, the temporal within the present, and the indeterminacy of the unknown future.

Landfill

Anarchitecture / deadspace resurrection - Understanding the current state of our city, human act has caused upon destruction and inactive space within the urban fabric. Its purpose becomes a void of deadspace. In the nature growth of a city, our actions, touch and daily interaction manifest and alter the time and the growth of a metamorphosis of a city. Changing and influencing culturein the world is all about the people nevertheless.

Reconstruction and demolition, should be avoided in The constant replacing with a new construction and restoring is perhaps deccelerating the nature growth of the city fabric.

Embracing these deadspace of inactivity of movement and ruins, as its tissue as wounds of the city in creating scabs in healing these no longer active deadspace . Resurrecte its form with our own nature growth of influences. A metamorphosis of our knowledge, and touch. Form of anarchitecture becomes a form of parasitic approach attrach and create a new urban fabric.

The collective

Wounds

Metamorphosis - Through our digital footprint, becomes a passivity of influence the self constructing and mutating digital footprint. As knowledge and information between the collective, as we are free by nature, alter the deadspace with the tangible representation the digitalization. becomes a social forum for the people, a collective memory that heals and mutates Skyscraper is used as a form of representation, in which its purpose can be seen differently once its vacant and abandoned.

Memory

Scabs

R

Recycling

Collecting

Sorting

Processing

Shedding

Melting

Heidegger

NTHROPOCENE ONTOLOGY

Prometheus

Umabomber

Dionysus Paul virillio

Englightenment

Metamorphosis

Self - growing mutating

Healing

Deadspace

Renewable

Anarchitecture

PHASE III / NARRATIVE SPACE

THEORY IN TRANSLATION / ACT X

What world do we want to perceive?

THEORY IN TRANSLATION

INDIVIDUAL WORK

Tectonic intent / Design research BEACon - POWER FACILITATOR In the need to self construct and self mutate, a beacon that is as a form of an anarchitecture, that attach to deadspace in becoming the facilitator in supplying power and resources in the expansion of our digital footprint’s consumption. A beacon that could attach, self-generate renewable energy in the supply of eletricial. In the metamorphosis of our actions and touch in forming a new urban fabric of the intangiblity. Collecting our present waste that being generated by humanity is cruicial in recycling different sort of material, that reproducing our waste into renewable resoures and power creating a metamorphosis of our times. Research into recycling fragemnts, that are needed to be used in a recycling factory, sorting, processing, reproducing, and reusing, giving back to the society, are considered into the design. Its functions and machinery details are adopted in influencing my design aesthetics.

Self -sustaining power recucling fragments Fragments between sorting, processsing and end product in the supply of power and reosources within the anachtiecture. Elements of the beacon

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SORTING PROCESSING

END PRODUCT

SELF- SUSTAINING POWER / RESOURCES FRAGMENTS 99

PHASE III / NARRATIVE SPACE

THEORY IN TRANSLATION / ACT X

What world do we want to perceive?

THEORY IN TRANSLATION

INDIVIDUAL WORK

Tectonic intent / Design research BEACon - POWER FACILITATOR In leading up to the design of the beacon, eletronics fragments are explored in incorporating the pwoer supply of the design. Renewable enery can be generated through furnance, by recycling with steam power generator, in allowing eletricity to be self generated on the heat energy of furnance that is being extracted from the recycling fragments.

Power grid is incorporated in understanding the basic fundamental of hwo power grid is operated as this form of anarchitecture is completely off grid from the current society. A self powering , generating, mutating and constructing facilitator that in alone running itself. Server and others eletronics of how internet works and server factory is operated are taken into account into the design

Self -sustaining power power grid, renewable energy, server Fragments between power grid, eletricity generator, renewable generator, and server rooms machines are explored and depicted.

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ELETRONICS FRAGMENTS 101

SELF-GROWING STRUCTURE ANATOMY

Detail drawing - conceptualizing in creating a self growing and mutating m e c h a n i sm .

Incoporating various details in creating a system that utilize robotic arms which can create its own truck in construct itself in forming a structure support to the anarchitecture.

Tectonic research / Experimentation

Sketch - initial design on the technical detail of self constructing robotic arms.

ATTENTION TO DETAIL Self growing mutating mechanism 3d Robbotic arms The design thinking all started with how one singularity of mechanism that could expand and self grow and construct itself. In the neccessity of reusing the remains structure integiry of a deadspace. Utilising a 3d robotic arms that could create its own truck in manuvers itself into constructing a structural integrity of an extension of an anarchitecture. This becomes the structure support of the entire architecture.Mutate and grow itself.

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PHASE III / NARRATIVE SPACE

THEORY IN TRANSLATION / ACT X

What world do we want to perceive?

INDIVIDUAL WORK

3d robotic arms - Detail experimentation Sketch. An exploration on realizing the structure integrity and details of the robotic arms. Such self growing mechanism can attach to existing building structure, and stablize itself with injection of anchor bolt. Slowing installing the truck up ahead upon the existing structure. rollar coaster truck and wheels mechanic are incorporated into the design of the robotic arms. In which the robotic arms can sense and scan through the existing architecture of their structure integrity in order to construct structure of its own.

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Tectonic research / Experimentation

Exploded view on the entire robotic arms creation

Battery of eletricity being stored, connection of rollar coaster wheels, and robotic arms connections to the whole structure frame.

Rollar coaster wheels

Truck attach on exiting wall Structure sequence

Exploring the potential details on the exploded diagram of the wheels. Bolts, whels, bearing are used.

The exploded view of the truck, a self designed truck that could attrach on exiting wall structure.

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PHASE III / NARRATIVE SPACE

THEORY IN TRANSLATION / ACT X

What world do we want to perceive?

INDIVIDUAL WORK

Initial sketch on how it could be attach on skyscrapper Experimenting the potential of anarchitecture and its design language.

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Tectonic research / Experimentation

CONSTRUCTION SEQuENCE The following drawing demonstrates the sequence of construction, in which how one robotic arms could potentially curate its own struck of expansion, self grow and self create in allowing the passivity of our digital form of mutation. First sequence can be seen as the slot in of extending and installing the truck, second sequence is seen to be the atmospheric quality of how it can attach to skyscraper. Third sequence shows how the robotic arms could lead to a network of truck as its structure integrity. Expanding itself into the interior as a point of fixated support.

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PHASE III / NARRATIVE SPACE

CONcept in realization / ACT XI

What world do we want to perceive?

CONCEPT IN REALIAZTION Exploration on the facilitator and consumer Development Sketch. The initial drawings of how the relationship between facilitator and consumer can be realized. The connections between the two are explored in which distinguishing the different programmes could alter the design language of the anarchitecture. Centralising the facilitator on the outside in allowing the collection of people’s waste and resources.

Exposed on the outside as a form receiving and processing then reusing.

Facilitator - utilizing gravitational force as a form of transfer of wastes. From top to bottom, it runs through the processing of sorting, processing and end product is located at the bottom of the facilitator, allowing the convenience of transfering to the inside of a power core that centralized the movement of all robotic arms, and eletricity core. On the other hand other means of transfers would be giving back to the community as a form of facilitor not just itself but also by to the people.

On the top will be the transfer of generating eletricity in which allow the separation to the rest of the recycling fragments as well as easy connections and wiring to the consumers power core.

Initial sketch

INDIVIDUAL WORK

The connections of facilitator and consumers - a bottom maintenace boundary marking a separation between the top and bottom.

Bottoms become the connections of power and core.

Consumer - two power cores centralised the maintenance of the entire structure. Robotic can manuvers through these passage of areas as the main vein of such architecture structure integrity. One power core that centralised all robotic as a form of repairing and constructing platform, allowing easy transfer of resources to the rest of the area. other power core would be eletricity mainly supplying to the server usage of eletricity and also the devices of projection.

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Process / development

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PHASE III / NARRATIVE SPACE

CONcept in realization / ACT XI

What world do we want to perceive?

INDIVIDUAL WORK

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Process / development

Exploration on the division betwen the top and bottom

marking the boundary between open space and isolated area. Collective server storage, privacy of the people remains at the mottom of the architecture in which close to the maintenance floor. Marking the boundary that with security and out of boundary.

Top becomes an open use of server space, a social forum that individuals to create conversation and exploration.

Detail exploration on power core

Taking the language of power grid, exploring the potential functions and aesthetics of how power core can operate, in which a power core that centralized resources transfer and 3d robotic arms maintenace quarter.

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PHASE III / NARRATIVE SPACE

CONcept in realization / ACT XI

What world do we want to perceive?

INDIVIDUAL WORK

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Process / development

Final sketch.

Attention to details, and the connections between different zoning of the architecture.

Plan sketch.

An iteration on the top floor of organization, between creating an open atrium space an imitation of church hall, a shrine of exchange, and balcony of more isoalted hub of exchange space. The connection to the power core.

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VIRTURALITY ARTEFACTS Exploded view drawing Narrative / Drawing / design The drawing demonstrates the three zoning across the anarchitecture, Starting with the beacon as a form of facilitator to the existing fabric, becomes a parasitic form of attaching into deadspace, supply power and eletricity, resources into slowing self construct itself and mutate in two power cores of the design. One centralised trasnfers of eletricity, reources, and mobility of robotic arms movement. Through maintence, such strcuture integrity manifets and spreads acros the skyscraper, create another core of supplying power to the open public space as well as the isolated server storage at the bottom.

A clear division between top and bottom, in which open space of exchange are designed into allowing programmes such as suction of artefacts, exchange on desirable artefacts. A social forum that allow the maximum of interaction between cross platform of virtuality, metaverse as an avatar of projection, reality, an actual virtuality of wearing vr goggles or seeing the projection that being projected on the nodes of projector as a form of geometry in allowing digital form of artefacts to manifest freely. Isolated hubs are designed in which isolated chambers alow solitary exploration on artefacts towards self exploration towards information knowledge of any kind. Top floow allows visitors to utilize its construction platform, in cultivating their own artefacts or the expansion of the space within in any kind.The life and dealth of our actions, thoughts within the becoming between past, present and future lives on in further archiving itself a form of digital footprint, a tangible representation of server, signals, and connections.

Front elevation.

Drawing showcasing the entire facilitator functions and its programmes in the supply of power and resources and its connections between the skyscraper and the power cores.

Narrative / Presentation

Beacon - facilitator Facilitator design - utilizing gravitational force as a form of transfer of wastes. From top to bottom, it runs through the processing of sorting, processing and end product is located at the bottom of the facilitator, allowing the convenience of transfering to the inside of a power core that centralized the movement of all robotic arms, and eletricity core. On the other hand other means of transfers would be giving back to the community as a form of facilitor not just itself but also by to the people.

On the top will be the transfer of generating eletricity in which allow the separation to the rest of the recycling fragments as well as easy connections and wiring to the consumers power core.

Axonometric drawing.

A showcase of sorting, processing, end product, eletricity renewable energ facilitator, furance, storage of resources, fragments of the facilitator.

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

Sorting Fragments sketch. Exploration

What world do we want to perceive?

on the details of transfering waste, into isolating x ray separator, circulate size de-integration fragments, separate by weight and size.

Sorting Fragments sketch. Exploration

INDIVIDUAL WORK

on the details of the incoporation of the research various recycling machine. A collecting fragments on top right, sorting fragments in the middle,

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PHASE III / NARRATIVE SPACE

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Furnance fragments sketch.

Exploration the detail on the connection between furnace and renewable energy, connections to reproduce steam renewable energy, in allowing the use of eletriciy to be generated.

Sorting sketch.

fragments

INDIVIDUAL WORK

Circular fragments sorting machine that could divide waste by various opening of gaps in dis-integrating and sorting waste into different sizes and forms.

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Narrative / Presentation

Collecting fragments Sketch.

Incorporating elevator, allowing the waste to be transfered to the top in order to utilize gravitational force as a form of transfering waste from top to bottom,

Collecting fragments Sketch.

Incorporating elevator, allowing the waste to be transfered to the top in order to utilize gravitational force as a form of transfering waste from top to bottom,

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Collecting Framents - Transfer of waste Starting from the right. waste is received viathe collection station that utilizing elevator as a form of distribution, wastes will then be transfer towards the sorting fragments. Large waste will be separated by robotic arms in dis-integration itself separately, and non-reuseable waste will be processing through x-ray sorting into the renewable energy burning waste as a part of fuel in the steam gener-

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Narrative / Presentation

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Sorting fragments - dis-integreation of various wastes Through various form of separation, xray, robotic arms circular machine sorting, Sensor detection separation in allowing the waste to be separated entirely.

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Narrative / Presentation

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

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Narrative / Presentation

End product fragments - Distribution of reuseable resources Distribution of resources can be stored within the containeer, in which transfer of these resources will be made by robotic arms. A way to give abck to the comunity, a machine that ship out reuseable resources into the transfer back to the society.

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Furnace / processing/ energy reuse fragments Allowing the process by burning recyclable material by heat into a form of pallets. Extra head energy is given out as a form of energy that can be reused in the distribution to the stream generator.

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Narrative / Presentation

Eletricity power plant / power grid fragemnts The transfered of eletrictiy that is being generated by the steam generator can be used into the connection between the exterior and interior power core.

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Top Floor plan Power core / eletricity connection / signals/ communal space for cultivation

Sectional drawing Power core / beacon / Self constructing / mutating structural integirty/ Communal atrium/ Isolated chamber

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Power core - robotic maintenance Transfer of resources / platform / construction platform / eletricity power core

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Narrative / Presentation

Central strium / 3D construction area Communal space / projection / enclosed hub / server / connections / wires / projection device geometry

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Power supply core information centre information / central atrium / point of supply / server

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Narrative / Presentation

Central atrium / social forum / enclosed solidarity space / isolated chamber information / central atrium / server / exchange / isolated metaverse chamber

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

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Narrative / Presentation

Central atrium Projection device geometry / Communal space/ social forum / showcase of artefacts / interaction between virtuality

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Central atrium Information center / central atrium / division between open and enclosed space.

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Narrative / Presentation

143

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Solidarity Chamber Virtuality exploration / isolated information search

144

Narrative / Presentation

145

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Central atrium Virtuality artefacts INDIVIDUAL WORK

146

Narrative / Presentation

147

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT I

What world do we want to perceive?

INDIVIDUAL WORK

Narrative / Presentation

Virtuality Artefacts Elevation drawing

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

VIRTUALITY ARTEFACTS - ANTHEROPOCENE ONTOLOGY Animation / Narrative

Scripts. The Anthropocene has brought upon an abundance of virtuality artifacts our perceptual reality is tempered with the fragmentations of memory across the forever mutating, repeating, and changing negotiation across the resemblance of the past, the temporal within the present, and the indeterminacy of the unknown future. In the perceiving reality each and every actions, thoughts, touch, sensation, and exploration become the accumulation of our memory, which our actual becomes the evidence of us striving for sovereignty, power, and control over our own interpretation of space in our mundane life. The notion of time as becoming in tempering reality, in which the virtuality of the collective shapes our individual selves.

INDIVIDUAL WORK

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Narrative / Presentation / Animation

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SCRIPT

In the path of enlightenment, information and knowledge become our power of reach, digitalization, and the emergence of metaverse as a whole, Such tools become the extension of our skin, our digital virtuality which enrich our mode of representation towards individual exploration, power, and control over our perceiving reality. In which what is the manifestation of digital in the tangible world, do our thoughts and memory remain untouchable or just a virtual platform that is scattered across the world.

How could we take possession of such power?

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

Animation / Narrative

Scripts. Deadspace becomes the starting point of manifesting our digital footprint, with the passivity of our digital virtuality becoming the metamorphosis of resurrecting a deadspace with the consumption of our digital needs. A self-growing mutating mechanism is used with various trucks of robotic arms growing and constructing the facilitator of the beacon in recycling our collective physical waste with recycling fragments of sorting, processing, and reusing its resources, and generating renewable electrical power. It runs through two power cores one centralized robotic mechanism and a constructing platform, in leading up to the maintenance platform it is self-growing, self-constructing and endless other power cores become the supply of power to servers, projection of artifacts in our virtuality consumption. But why has it taken a form of an anarchitecture and why it is the way it is.

What world do we want to perceive?

Beacon - facilitator of resources and power

INDIVIDUAL WORK

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Narrative / Presentation / Animation

Power Core - connectionsof eletricity

Eletricity - power core connection tower

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PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

Resources distribution - Server platform

What world do we want to perceive?

Power core - eletricity connection

INDIVIDUAL WORK

156

Narrative / Presentation / Animation

Animation / Narrative

Scripts. Deadspace becomes the starting point of manifesting our digital footprint, with the passivity of our digital virtuality becoming the metamorphosis of resurrecting a deadspace with the consumption of our digital needs. A self-growing mutating mechanism is used with various trucks of robotic arms growing and constructing the facilitator of the beacon in recycling our collective physical waste with recycling fragments of sorting, processing, and reusing its resources, and generating renewable electrical power. It runs through two power cores one centralized robotic mechanism and a constructing platform, in leading up to the maintenance platform it is self-growing, self-constructing and endless other power cores become the supply of power to servers, projection of artifacts in our virtuality consumption. But why has it taken a form of an anarchitecture and why it is the way it is.

Construction panel - Robotic arms tower

157

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

Animation / Narrative

Scripts. Deadspace becomes the starting point of manifesting our digital footprint, with the passivity of our digital virtuality becoming the metamorphosis of resurrecting a deadspace with the consumption of our digital needs. A self-growing mutating mechanism is used with various trucks of robotic arms growing and constructing the facilitator of the beacon in recycling our collective physical waste with recycling fragments of sorting, processing, and reusing its resources, and generating renewable electrical power. It runs through two power cores one centralized robotic mechanism and a constructing platform, in leading up to the maintenance platform it is self-growing, self-constructing and endless other power cores become the supply of power to servers, projection of artifacts in our virtuality consumption. But why has it taken a form of an anarchitecture and why it is the way it is.

What world do we want to perceive?

INDIVIDUAL WORK

Maintenance platform

158

Narrative / Presentation / Animation

Maintenance platform / Robotic arms track

159

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

Robotic arms track - self constructing

What world do we want to perceive?

INDIVIDUAL WORK

160

Narrative / Presentation / Animation

Animation / Narrative

Our digital self becomes an alternative to how we see the world, in such becomes our sacred knowledge, privacy, and identity. With the passivity of the manifestation of the intangible form digital, its tangible manifestations become the database of collective memory, which such notion of tempering across past, present, and future, become our scared space of value and worship in knowledge and power of our own thoughts, actions, and memory

Server platform - thoughts, memory, digital footprint

161

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Enclosed solitary platform - sacred and shrine

INDIVIDUAL WORK

162

Narrative / Presentation / Animation

Animation / Narrative

Our digital data should be reformatted back into the collective’s possession over their personal privacy and manifested itself ontologically as it mutates and grows in accordance with our actions of passivity, as part of our nature. In which not just its scattered representation of intangibility, but also its tangible manifestation in creating a bridge across virtuality. The collective of encounterment of becoming creates an intersection between different people’s ideas and thoughts. A metamorphosis of our collective memory in which has taken the form of an anarchtiecture healing and constructing of our becoming Ornamentation of sacred and shrines are embedded with signals, wires, and connections of the manifestation of digital An anarchitecture approach that manifests in the open wounds of the city, deadspace across the land. Formulating a new urban fabric as humanity is free by nature. Our virtuality artifacts manifest and heal the city itself.

163

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Entrance perspective - Central atrium

INDIVIDUAL WORK

164

Narrative / Presentation / Animation

165

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Information center - projection node

INDIVIDUAL WORK

166

Narrative / Presentation / Animation

Central atrium - Virtuality artefacts

167

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

INDIVIDUAL WORK

Central communal space - Server power supply

168

Narrative / Presentation / Animation

169

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Enclosed solitary platform - perspective

INDIVIDUAL WORK

170

Narrative / Presentation / Animation

171

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Enclosed isolation chamber - Solitary platform

INDIVIDUAL WORK

172

Narrative / Presentation / Animation

173

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Enclosed communal social forum - Virtuality exchange

INDIVIDUAL WORK

174

Narrative / Presentation / Animation

175

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

Enclosed isolated communal space hub

INDIVIDUAL WORK

176

Narrative / Presentation / Animation

Virtuality Artefacts - Cultivation platform

177

PHASE III / NARRATIVE SPACE

VIRTUALITY ARTEFACTs / ACT XII

What world do we want to perceive?

ANIMATION IMAGE CLICK

Virtuality artefacts - Anthropocene Ontology

INDIVIDUAL WORK

178

Narrative / Presentation / Animation

End scene - top floor plan / Cultivation platform

179

Bernie Hok Yin . AU ab. Hong Kong. 1998 hokyinau852@gmail.com +852 67913808

with works by Au Hok Yin Bernie

HOW DO WE SENSE S PA C E ?

THE END - HOW DO WE SENSE SPACE?

AUHOKYIN BERNIE

AUHOKYIN BERNIE

PROJECT BOOK 2021 - 2022

CHINESE UNIVERSITY OF HONG KONG

PROJECT BOOK 2021 - 2022

CHINESE UNIVERSITY OF HONG KONG

C . U . H . K School of architecture - M a r c h P r o g r a m m e