Perceptive Places

YASH MEHTA

THESIS PREP 2020

FLORENCIA PITA

Edition 08.

03. 30. 2020.

Perceptive Places An Atlas of

“THE PLACE HAS SUCH A HOLD ON MAN, THAT MEMORY IS NO LONGER NEEDED... THE PLACE IS ACTUALLY THE MEMORY OF THE SENSES, HENCE ITS EXISTENCE AS A PERCEPTION IN MINDS...”

AN EXTRACT FROM THE BOOK “A DICTIONARY OF IMAGINARY PLACES”

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preamble A “Perceptive Place” is about figmented places. Perceptive places explore facets of fakeness to embed places with dramatic unreal-reality. Most unreal-realities coalesce into genres such as science fiction, or other concepts that deal with the future, perceptive places do not. Instead, the project posits itself somewhere in between the plausible and the surreal; the present and the absent. This series of Imaginary worlds are revealed in an architecture that encounters the phenomenal, the intangible, and the imaginary.

As an example, starting in the early 1960s and lasting until the early 2000’s Hanna Baker and the ABC channel were able to depict a mesmerizing world of the romanticized stone age (“The Flintstones”) and a speculative space colony (“The Jetsons”). Bodys Isek Kingelez projected his vision for a model city during his MOMA show in 2018 “City Dreams”. He draws inspiration from his dreams; aggregating and transforming political buildings that intrigued him into a dream city.

Similarly, Niantic in collaboration with the Pokémon Company published an Augmented reality Game “ Pokémon GO” which blurred the lines between the “real” world and the “Pokemon” world.

Using a similar narrative, an “image” model-based medium will be utilized to explore other worlds that could exist nowhere, sourced from somewhere.

This thesis is a collection of fragments from the phenomenal, intangible and imagination. These will be weaved into a single narrative, that evaluates these 3 concepts that culminate into a single story. (IMAGINATION)The project takes you on a journey to a newly discovered land in the North Pacific Ocean (38.954023,-147.624281). (INTANGIBLE) Using existing terrains sampled from google earth, the project will fabricate a fake land on which imaginary places exist. NOTE: not “Fantasia” or “Utopia”. (PHENOMENAL) Further speculation will be done using specific and productive allegorical symbolism embedded within the cultural imagination. Imagination becomes the method for presenting the urban landscape, where the modern metropolis represents architecture in a manner that is meticulous, precise and imaginative. These environments are contained in a maximum space with a non-existent taste.

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Contents

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Incompatible Worlds....................

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A Few Extras..................................

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The Examplar & the Muse...........

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Interview.........................................

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Greeting Card, from

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somewhere else............................

Florencia Pita Thesis Prep Advisor

John Cooper Cultural Agent

Illustration by Yash Mehta

Perceptive Places

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INCOMPATIBLE WORLDS The Flintstones & The Jetsons are an American animated sitcomd directed and produced by Hanna-Barbera. The Flintstones lived in a world which was a comical version of the romanticized stone age town of Bed rock with dinosaurs and other extint animals cohabitating with cavemen, While the Jetsons live in a comical version of a century in the future - Orbit City a space colony, with elaborate robotic contraptions, aliens, holograms, and whimsical inventions.

The Flinestones and the Jetsons were the first animated sitcoms to have Prime time slots in 1963; on the same channel. In 2013, TV Guide ranked The Flintstones the second-greatest TV cartoon of all time (after The Simpsons).

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Perceptive Places

yash mehta yash mehta yash mehta yash mehta yash mehta yash mehta

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Incompatible Worlds

yash mehta yash mehta yash mehta yash mehta yash mehta yash mehta

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Perceptive Places

The Flintstones, the series takes place in a romanticized Stone Age setting and follows the activities of the titular family, the Flintstones, and their next-door neighbors, the Rubbles.

The show is set in the Stone Age town of Bedrock (pop. 2,500). In this fantasy version of the past, dinosaurs and other long-extinct animals are inaccurately portrayed to co-exist during the time of cavemen. The continuing popularity of The Flintstones rests heavily on its juxtaposition of modern everyday concerns in the Stone Age setting. It was originally broadcast on ABC from September 30, 1960, until April 1, 1966, as the first animated series to hold a prime time slot. In 2013, TV Guide ranked The Flintstones the second-greatest TV cartoon of all time (after The Simpsons).

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“Take everything and convert it in

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Incompatible Worlds

g that is current , into stone age.”

ABC channel executives request to the animators and the producers of “The Flinstones”

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“You take everything and convert it in

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Incompatible Worlds

g from the Flinstones, nto space city” ABC channel executives request to the producers during the conceptualisation of “ The Jetsons”

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Perceptive Places

INCOMPATIBLE WORLDS The world of Flinestones The world of Jetsons

To re-capture the essence of life in this fantasy lands for the past and future; animators/designers were heavily focused on transforming daily objects into something more speculative/ancient . Introducing different characters, logic, beliefs etc. that cannot exist or be accepted together invented a new mode of representing and reassociating known factors. This idea of ill-matched logic facilitates a documentation of objects generated within this comicial versions of lifestyle.

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A FEW EXTRAS A catlouge

This are a series of projects and referances that were refered along with many others to construct a clear idea on where the reseach was directed and how the thesis prceeds in its formal development towards a project.

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Hieronymus Bosch

The Garden of Earthly Delights Oil on oak panels, 205.5 cm × 384.9 cm

There is so little is known of Bosch’s life or intentions, interpretations of his intent have ranged from an admonition of worldly fleshy indulgence, to a dire warning on the perils of life’s temptations, to an evocation of ultimate sexual joy.

The intricacy of its symbolism, particularly that of the central panel, has led to a wide range of scholarly interpretations over the centuries. Bosch painted three large triptychs that can be read from left to right and in which each panel was essential to the meaning of the whole. Each of these three works presents distinct yet linked themes addressing history and faith. Triptychs were generally intended to be read sequentially, the left and right panels often portraying Eden and the Last Judgment respectively, while the main subject was contained in the center piece. When the triptych’s wings are closed, the design of the outer panels becomes visible ; rendered in a green–gray grisaille. The outer panels are generally thought to depict the creation of the world. The left panel depicts a scene from the paradise of the Garden of Eden commonly interpreted as the moment when God presents Eve to Adam. The center image depicts the expansive “garden” landscape. The panel shares a common horizon with the left wing, suggesting a spatial connection between the two scenes. It is belived to be the depiction of life on earth. The right panel illustrates Hell. It is not known whether The Garden was intended as an altarpiece, but the general view is that the extreme subject matter of the inner center and right panels make it unlikely that it was intended to function in a church or monastery, but was instead commissioned by a patron.

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A FEW EXTRAS...

I’ve always thought of LA as the mordern version of ‘The Garden of Earthly Delights’

Birds swarming through cavities of a hut-shaped form in the left background of the left panel

-Michael Connelly

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A FEW EXTRAS...

The three pannels depict the creation of human - the planet / the garden and the hell. When the triptych’s wings are closed, the design of the outer panels reviles the thought to depict the creation of the world, showing greenery beginning to clothe the still-pristine Earth. (left) The exterior pannels (top) Interior pannels

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Perceptive Places

TOMORROW LAND

Tomorrowland is one of the many themed lands featured at all of the Magic Kingdom styled Disney theme parks around the world owned or licensed by The Walt Disney Company. Each version of the land is different and features numerous attractions that depict views of the future.

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Sketches / renderings from Walt Disney

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Sketches / renderings from Walt Disney

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NEW ADNEAN ARCHITECTURE Freddy Mamani

Freddy Mamani or Freddy Mamani Silvestre is a Bolivian architect noted for his development of the Neo-Andean architectural style. His work is most associated with the city of El Alto and with the new social class of upwardly mobile indigenous Bolivians.

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The aguayo, a bright woven cloth of the Aymara, an indigenous group that Mamani is a part of, inspires the architect’s designs

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The massive buildings seem to tower above their architectural neighbors, but they aren’t private mansions.

Many of Mamani’s constructions are multi-use structures, filled with ground-floor rental stalls for vendors, a second floor party venue, and apartments on top. Though many westerners draw comparisons to Las Vegas, Mamani clarifies that the shapes, colors, and patterns he uses are drawn from Bolivia’s pre-Columbian history.

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Cartier foundation Ball room in Paris, by Freddy Mamani

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Arianna Salazar Miranda, Jose Pablo Cordero, Amanda Rodriguez

SPECULATIVE CITY Universidad Veritas, 2012

There is so little is known of Bosch’s life or intentions, interpretations of his intent have ranged from an admonition of worldly fleshy indulgence, to a dire warning on the perils of life’s temptations, to an evocation of ultimate sexual joy.

The intricacy of its symbolism, particularly that of the central panel, has led to a wide range of scholarly interpretations over the centuries. Bosch painted three large triptychs that can be read from left to right and in which each panel was essential to the meaning of the whole. Each of these three works presents distinct yet linked themes addressing history and faith. Triptychs were generally intended to be read sequentially, the left and right panels often portraying Eden and the Last Judgment respectively, while the main subject was contained in the center piece. When the triptych’s wings are closed, the design of the outer panels becomes visible ; rendered in a green–gray grisaille. The outer panels are generally thought to depict the creation of the world. The left panel depicts a scene from the paradise of the Garden of Eden commonly interpreted as the moment when God presents Eve to Adam. The center image depicts the expansive “garden” landscape. The panel shares a common horizon with the left wing, suggesting a spatial connection between the two scenes. It is belived to be the depiction of life on earth. The right panel illustrates Hell. It is not known whether The Garden was intended as an altarpiece, but the general view is that the extreme subject matter of the inner center and right panels make it unlikely that it was intended to function in a church or monastery, but was instead commissioned by a patron.

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A FEW EXTRAS...

I’ve always thought of LA as the mordern version of ‘The Garden of Earthly Delights’ -Michael Connelly

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A FEW EXTRAS...

The three pannels depict the creation of human - the planet / the garden and the hell. When the triptych’s wings are closed, the design of the outer panels reviles the thought to depict the creation of the world, showing greenery beginning to clothe the still-pristine Earth. (left) The exterior pannels (top) Interior pannels

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Illustrations by Jay Shah

A TALE FROM KASHMIR Garden of Reconciliation, 2017-18 water color on paper

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A FEW EXTRAS...

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KASHMIRCONFLICT AND THE ARCHITECTURAL PRACTICE.......

This Illustrations are reflection of authors perception of Kashmir.

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A FEW EXTRAS...

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Bodys Isek Kingelez

CITY DREAMS May 26, 2018–Jan 1, 2019 MoMA

“Without a model, you are nowhere. A nation that can’t make models is a nation that doesn’t understand things, a nation that doesn’t live,” said visionary artist Bodys Isek Kingelez (1948–2015). Based in then-Zaire (now the Democratic Republic of Congo), following its independence from Belgium, Kingelez made sculptures of imagined buildings and cities that reflected dreams for his country, his continent, and the world. Kingelez’s “extreme maquettes” offer fantastic, utopian models for a more harmonious society of the future. An optimistic alternative to his own experience of urban life in his home city of Kinshasa, which grew exponentially and organically with urban planning and infrastructure often unable to keep step, his work explores urgent questions around urban growth, economic inequity, how communities and societies function, and the rehabilitative power of architecture—issues that resonate profoundly today.

the SIDA (1991), for example, references the AIDS crisis; Palais d’Hirochima (1991) addresses the condition of postwar Japan; and U.N. (1995) attests to the organization’s global peacekeeping efforts and the artist’s own sense of civic responsibility. In the complex multi-building cityscape Kimbembele Ihunga (1994), the artist reimagines his agricultural home village complete with a soccer stadium, banks, restaurants, and skyscrapers. In Ville Fantôme (1996), which will be accompanied by a Virtual Reality experience for visitors, the artist has imagined a peaceful city in which doctors and police are not needed.

The first US retrospective of Kingelez’s work, the exhibition spans his full career, from early single-building sculptures, to spectacular sprawling cities, to futuristic late works, which incorporate increasingly unorthodox materials.

These rarely shown works are a call for us all to imagine, in the artist’s words, a “better, more peaceful world.”

Kingelez’s vibrant, ambitious sculptures are created from an incredible range of everyday materials and found objects—colored paper, commercial packaging, plastic, soda cans, and bottle caps—all meticulously repurposed and arranged. While he didn’t travel outside of Zaire until 1989, he was highly attuned to world events and deeply concerned with social issues. The Scientific Center of Hospitalisation

This exhibition includes an interactive virtualreality experience that allows visitors to explore Ville Fantôme, one of Kingelez’s large-scale city sculptures. Suitable for children 13 and up with adult supervision. https://www.moma.org/calendar/

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A FEW EXTRAS...

“Without a model, you are nowhere.

A nation that can’t make models is a nation that doesn’t understand things, a nation that doesn’t live,”

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Paris Nouvel, 1989

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U.N. , 1995

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Kinshasa la Belle, 1991

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ALLEGORICAL ARCHITECTURE living myth through architecture Mark Foster Gage

Mark Foster Gage Architects only accepts projects that seek to be truly innovative and groundbreaking in their design ambitions. Mark Foster Gage brings unique architectural experience to the table- as a protégée of Robert A.M. Stern and former studio assistant to Frank Gehry, the firm’s project design and delivery methods are based on those of the world’s most successful and diverse practices.

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WHERE THE CITY CANT SEE Directed by speculative architect Liam Young and written by fiction author Tim Maughan, ‘Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners, designed in collaboration with Alexey Marfin. The computer vision systems of driverless cars google maps, urban management systems and CCTV surveillance are now fundamentally reshaping urban experience and the cultures of our city. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, we see this near future city through the eyes of the robots that manage it.

Exploring the subcultures that emerge from these new technologies the film follows a group of young car factory workers across a single night, as they drift through the smart city point clouds in a driverless taxi, searching for a place they know exists but that the map doesn’t show. They are part of an underground community that work on the production lines by day but at night, adorn themselves in machine vision camouflage and the tribal masks of anti-facial recognition to enact their escapist fantasies in the hidden spaces of the city. They hack the city and journey through a network of stealth buildings, ruinous landscapes, ghost architectures, anomalies, glitches and sprites, searching for the wilds beyond the machine. We have always found the eccentric and imaginary in the spaces the city can’t see.

Still from “WHERE THE CITY CANT SEE” A film by Liam Young

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YASH MEHTA

THESIS PREP 2020

FLORENCIA PITA

There may not be one truth - there may be several truth - but saying that is not to say that reality doesnt exist.

- Margaret Atwood 63

Perceptive Places

THE FUTURE IS NOT W TO RETHINK THE MANIFE CRITICAL THINK

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WHAT IT USED TO BE, ESTO AS A CATALYST FOR KING IS DESIGN.

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HOW DO YOU DEFIN WHO DEFINES IT? AND PER WHOS IMAGINATION AR

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NE IMAGINATION ?

ERHAPS MORE IMPORTANT RE WE TALKING ABOUT?

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CAN’T WE JUST LIVE IN DREAMS AN

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N THE INTERSECTION OF ND REALITY?

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EXAMPLAR AND THE MUSE

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For more than five hundred years, world making has employed three-dimensional models of reality as tools to test, refine, and illustrate their ideas. This models can also simulate, instruct, inspire, and generate new versions of designs. It can be, among other things, sign, souvenir, toy, funerary object, didactic tool, medium, or muse both theoretical and practical.

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Japan Map

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Examplar and the Muse

Pokemon - World

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Inverted maps of England and Ireland

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Examplar and the Muse

Game of thrones world - Westros

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Winston Churchill discussing with a comander over map of India.

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Examplar and the Muse

Cinematographers discussing on the sets of “Westworld�

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AUGMENTED REALITY A technology that superimposes a computergenerated image on a user’s view of the real world, thus providing a composite view.

Augmented reality is an interactive experience of a real-world environment where the objects that reside in the real world are enhanced by computer-generated perceptual information, sometimes across multiple sensory modalities, including visual, auditory, haptic, somatosensory and olfactory.

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POKEMON GO The most famous example of AR technology is the mobile Gamming app “Pokemon Go”, which was released in 2016 and quickly became an inescapable sensation. In the game, players locate and capture Pokemon characters that pop up in the real world—on your sidewalk, in a fountain, even in your own bathroom.

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Examplar and the Muse

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In conversation with: Angelica Lorenzi.

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INTERVIEW

The motto of this interview’s is to realise and enage into a deep understanding of world making as a means to project subjectivity and understanding the role of image based culture that gorverns the narrative of design.

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IMAGINATION IS REAL NOT A FANTASY

Angelica Lorenzi is an Italian architectural designer, educator and digital artist currently based in Los Angeles. Angelica holds an undergraduate degree from the University of Innsbruck and received a Master of Architecture with distinction from Die Angewandte, University of Applied Arts in Vienna, studio Hani Rashid in 2018.

She is currently a Design Studio faculty at SCI-Arc at the undergraduate and graduate levels. Angelica’s work has been exhibited in various international Exhibitions, as the TAB Tallin Architectural Biennale 2017, Vienna Biennale 2017, Venice Architecture Biennale 2016, Architekturtage Innsbruck 2016 among others.

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Y. how do you feel about the idea of imagination? any thoughts on the book so far?

had an atlas of plants, bugs, animals; so now you can go by geography and say this is the flora and fauna... blah blah blah.... but the problem is you need an A. Imagination reminds me of the book “Fantasia” by atlas or a book or a journal... that’s printed - it needs Bruno Monari; for him, the most important thing was to be updated and the idea is to use technology how do we rebuild... a stage a nation that doesn’t to document what is out there and how do you have anything left? there is history architecture and use software to assemble a scene that through all that but what is it to design with an intuition. simulation keeps the documentation updated. I was He explains how fantasy and imagination are very thinking about that b’coz as I flip through your book different. He furthermore explains how the brain where you have the images to project imagination works and how it associates with elements from but I believe if you change the medium to AR then reality and elements that don’t exist. He builds a its not just an image but a simulation, I don’t think a threshold where fantasy remains 80% - what we video or images helps you - for testing and making don’t know. Imagination is more connected to reality; storyboards it’s fine but I believe you are looking for it starts from something you already know like a leg something more alive. That might be the point where and a marshmallow. We know both elements and it you can produce a personal touch to it - in a way creates something new when they come together. feed the machine with your ideas but the machineWe all know what a metal leg is but imagine explain generated outcomes are not dependent on your that to some old person. Prosthetics are common will. Then that’s the moment where there is more today its basically a metal leg, or a carbon-fiber leg. standardization but in a good way.....And I think one This reminds me of the images you are producing main point is you need to hack a scale and what is with cities and candy but how do you make a the context...you don’t want to fall for people saying startegy? how do you systematize? how do you “oh! I know that place!” make it real? is it a city? a setellment? a manmade construct - with no people? like silicon valley - it has Y. It’s about believing it... I’ll build the construct and architecture and data centers but no one lives... you have to build the rest of it...the images are a medium to show my jury/spectators a snapshot of Y. like the Disney land or Universal studio - it’s more the construct leaving the rest is for them to build in like a stage. there imagination.

A. Yes, it’s like a light bulb.....its either on or off! so going back to your research, maybe find research development in projects that are not architectural that might help you answer questions in a unique way. There is a similar approach - we look for a site, a technology to use, a problem that’s on the news papers. The research could take examples from biology or even chemistry. what happens if one component matches with another to create something new. We are working on a project for Getty where we are dealing with Big! really big landscapes, which don’t have any human presence.

The idea is to use like mega scans - to bring together a huge library of 3D scanned objects. But what if we do that in a way to document the landscapes, which

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A. So, your imagination is your making the foundation for the potentiality for it to expand. Is the project limited to the thesis or does it grow?

Y. YES! The idea is to build the project into a narrative to be able to constantly keep growing off it. maybe the island blows up into a full-blown Planet.

But architecture will always remain or become the background. Its more like reflecting upon - my education from a critically regionalist education from UG and my radical education in architecture from SCI-Arc. How these two contrasting worlds help me build a pool of interest to direct my position into the discourse.

YASH MEHTA

THESIS PREP 2020

FLORENCIA PITA

A. so you’re trying to find out what’s next?

Y. its like what you showed int your presentation during faculty talks at SCI-Arc - where your thesis project helped you to find your interest and divert you into creating radical projects like the robotic landscapes, or the theatre space and the bathhouse.

A. I see... I am thinking of this as cars, what I mean is if we take engines from the cars today and put them inside the cars from - let’s Say 60’s - they would collapse. I think that’s the problem with architecture.

The ideas are moving forward but the execution of them is moving but not at the same pace as the ideas are doing.

Y. It’s funny we talked about cars, cause yesterday Florencia was talking to me about the movie “Back to the future” (1985) where the car door opens sideways and so does Tesla today (2019)! So; in my opinion, the problem with the future is we already know a lot about it. and it’s not mesmerizing anymore. that’s where I am trying to question “why is our imagination dating back?”

Y. So, basically, it erases the past and evolves into something new... Do we agree that imagination relates to erasing memories of the past?

A. In a way yes...! And that could be an interesting moment...how we imagine the environment we live in and how the same background is read in a different logic by the machines. It’s not about smartness it about processing data.... I like when you mentioned about reflecting upon your own education from completely different backgrounds.... it is like a folder system! You go inside a folder “Yash” and there are folders like Architecture, dance and others; under architecture, you have UG and SCI-Arc and both this folders would reflect on the body of work you did there but then there is a new folder “Yash” again where both this bodies would come together and that’s where you are going towards.

Y. So Imagination is a projection of singular reflection?

A. I mean if it’s your imagination it has to be all about you, but if you intertwine a new law into the production of imagination like AI or something else then maybe its somewhat you but a little bit of everyone.

A. Have you heard about “Mirrorshades” by Bruce sterling? its an interesting book where it analyzes the world in the future with flying cars; shiny metallic buildings; houses floating. Its called Schiemotic Ghosts. Its basically in the 70’s it was for 2000 and now its for 2100. Imagination starts with Mmmmm..... So I have a question for you...What something you know and you transform it partially would you do if you had to start thesis today? into something new. We can’t think about the future without relating it to the present. Because is it going to be a real future ? or is it present 2.0 just a different version. Somehow we can’t imagine anything that we don’t know. We need to relate it to our enviorment, so in a way a pure imagination I imagine something that doesn’t really exist or any link to present to what we know. so i don’t know! we have to accept our human state. maybe that’s the difference between us and machines. we call it machine learning because we feed in data and the machine learns from it and constructs something new.

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“Natural History Museum” A collage by Eugenia Loli

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GREETING CARD

FROM SOMEWHERE ELSE....

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A series of Google map images are sampled and with the help of machine learning a new atlas for a perceptive place is generated. A Map for young travelers to embark on the journey.

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Greeting Card from Somewhere else...

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