PartY Portfolio

NOTES: This portfolio consists exploration and design inquiry throughout the year, and culminating in series of proposals at IBZ airport This portfolio is to be read in conjunction with • Approved Zone Document PartY • Digital Portfolio I • Links to videos have been provided and are also available on the attached memory stick The Department for Love, Care and Compassion for Others is a Hyperstitional department currently seeking recognition from the appropriate bodies This document is best displayed at 4K resolution For further information, please visit: www.faegen-blog.tumblr.com

The Department for Love Care and Compassion for Others

Project Name

Design Studio I&II

Drawing Title

Design Portfolio II

Date

Job No.

Drawing No.

D_PII_Cover Scale

NTS@4K

May 2017

George Williams | Zone5 | Oxford School of Architecture www.faegen-blog.tumblr.com 15022086@brookes .ac.uk | +(0)7850 042970

OXF

LCY

IBZ

Polya

Polya

So, what’s this all about then?

Location-based dating apps?

The modern dream of Poliphilo is a dream of flight, with its vertical motion, one is still capable of going somewhere Great, but where is this going......

By exploring the link between location-based dating apps and architecture, the proposal manifests in an intervention at IBZ. In conjunction with PartY, the boundaries between the physical and digital are merged.

Write something Promosexual...

Polya

Send

Let me introduce Orifice Æsthetic....

What are they, if not a veritable strife for love? (in a dream) Got it, you’re a troll.

Not entirely. Reports suggest that 1/3 of marriages for Millenials start online. I am interested in how this will shape the (very near future) of architecture and society.

Go on then, how have you explored the subject?

Write something Explanatory...

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Write something Intriguing...

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Ă˜ 800mm

Polya

Outer layer constructed from 1.5mm synthetic green felt

Deliberately designed to create discomfort, Orifice has become pseudo-personified and references can be heard in conversation across Abercrombie architecture studios.

Person shown dotted whilst inhabiting for clarity

Write something Tactile...

Orifices constructed from pink cotton. Machine stiched and hand finished

Orifices of varied size to allow for varying penetration rates

1600mm View from below, looking up Orifice’s skirt

SCALE

1:1@Intimate

Send

Polya Wow, I bet that raised some eyebrows. But what was the point?

Certainly did! The intention was to explore, understand and form my own position upon contemporary dating techniques. By using Orifice as an innocuous profile, taking commments given in studio as inspiration for the profile and carrying out sociological research I was able to analytically look at this.

Write something Intentional...

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Polya Sounds interesting Identifing 3 dating apps: • Happn • Tinder • Feeld (formerly 3nder) Which are all commonly used by GenY and are regarded in very different ways.

Orifice Æsthetic proved very popular, gaining an accumlative total of over 300 matches in 4 weeks (50 in the first 48hrs)

Play Video

S2.2_OA_Dating App Responses

Write something Objective...

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Polya What on earth did you say to these matches?

Aha! well I am glad you asked. Carrying on the theme of re-interpretation, I adapted a pirate copy of Sol LeWitt’s “Sentences on Conceptual Art” Thus creating categorocal responses and tangible results. Oh boy, there were some results....

Write something Inspired...

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SENTENCES ON CONCEPTUAL ART

SENTENCES ON CONCEPTUAL ARCHITECTURE

SENTENCES ON CONCEPTUAL EMOTION

Sol LeWitt 1969

Toby Optik Shew

G. Charles Williams

1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.

2. Rational judgements repeat rational judgements.

3. Irrational judgements lead to new experience.

4. Formal art is essentially rational.

5. Irrational thoughts should be followed absolutely and logically.

6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.

7. The artist’s will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.

8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.

9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.

10. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.

11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.

12. For each work of art that becomes physical there are many variations that do not.

13. A work of art may be understood as a conductor from the artist’s mind to the viewer’s. But it may never reach the viewer, or it may never leave the artist’s mind.

14. The words of one artist to another may induce an idea chain, if they share the same concept.

15. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.

16. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.

17. All ideas are art if they are concerned with art and fall within the conventions of art.

18. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.

19. The conventions of art are altered by works of art.

20. Successful art changes our understanding of the conventions by altering our perceptions.

21. Perception of ideas leads to new ideas.

22. The artist cannot imagine his art, and cannot perceive it until it is complete.

23. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.

24. Perception is subjective.

25. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.

26. An artist may perceive the art of others better than his own.

27. The concept of a work of art may involve the matter of the piece or the process in which it is made.

28. Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.

29. The process is mechanical and should not be tampered with. It should run its course.

30. There are many elements involved in a work of art. The most important are the most obvious.

31. If an artist uses the same form in a group of works, and changes the material, one would assume the artist’s concept involved the material.

32. Banal ideas cannot be rescued by beautiful execution.

33. It is difficult to bungle a good idea.

34. When an artist learns his craft too well he makes slick art.

35. These sentences comment on art, but are not art.

1. Conceptual architects are mystics rather than rationalists. They leap to conclusions that logic cannot reach.

2. Rational judgements repeat rational judgements.

3. Irrational judgements lead to new experience.

4. Formal architecture is essentially rational.

5. Irrational thoughts should be followed absolutely and logically.

6. If the architect changes his mind midway through the execution of the piece he compromises the result and repeats past results.

7. The architect’s will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.

8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the architect who would be reluctant to make architecture that goes beyond the limitations.

9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.

10. Ideas can be works of architecture; they are in a chain of development that may eventually find some form. All ideas need not be made physical.

11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.

12. For each work of architecture that becomes physical there are many variations that do not.

13. A work of architecture may be understood as a conductor from the architect’s mind to the viewer’s. But it may never reach the viewer, or it may never leave the architect’s mind.

14. The words of one architect to another may induce an idea chain, if they share the same concept.

15. Since no form is intrinsically superior to another, the architect may use any form, from an expression of words (written or spoken) to physical reality, equally.

16. If words are used, and they proceed from ideas about architecture, then they are architecture and not literature; numbers are not mathematics.

17. All ideas are architecture if they are concerned with architecture and fall within the conventions of architecture.

18. One usually understands the architecture of the past by applying the convention of the present, thus misunderstanding the architecture of the past.

19. The conventions of architecture are altered by works of architecture.

20. Successful architecture changes our understanding of the conventions by altering our perceptions.

21. Perception of ideas leads to new ideas.

22. The architect cannot imagine his architecture, and cannot perceive it until it is complete.

23. The architect may misperceive (understand it differently from the architect) a work of architecture but still be set off in his own chain of thought by that misconstrual.

24. Perception is subjective.

25. The architect may not necessarily understand his own architecture. His perception is neither better nor worse than that of others.

26. An architect may perceive the architecture of others better than his own.

27. The concept of a work of architecture may involve the matter of the piece or the process in which it is made.

28. Once the idea of the piece is established in the architect’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the architect cannot imagine. These may be used as ideas for new works.

29. The process is mechanical and should not be tampered with. It should run its course.

30. There are many elements involved in a work of architecture. The most important are the most obvious.

31. If an architect uses the same form in a group of works, and changes the material, one would assume the architect’s concept involved the material.

32. Banal ideas cannot be rescued by beautiful execution.

33. It is difficult to bungle a good idea.

34. When an architect learns his craft too well he makes slick architecture.

35. These sentences comment on architecture, but are not architecture.

1. Conceptual emotions are mystical rather than rational. They leap to conclusions that logic cannot reach.

2. Rational judgements repeat rational judgements.

3. Irrational judgements lead to new experiences.

4. Formal emotions are essentially rational.

5. Irrational thoughts should be followed absolutely and logically.

6. If you change your mind midway through the execution of the feeling, you compromise the result and repeat past results.

7. Is it that your will is secondary to the process you initiates from idea to completion? Your wilfulness may only be ego.

8. When words such as love and sex are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the person who would be reluctant to make love that goes beyond the limitations.

9. Sex and arousal are different. The former implies a general direction while the latter is the component. Arousal implements the concept.

10. Arousal can be works of emotion; they are in a chain of development that may eventually find some form. All emotions need not be made physical.

11. Emotions do not necessarily proceed in logical order. They may set one off in unexpected directions, but an emotion must necessarily be executed in the mind before the next one is formed.

12. For each work of emotion that becomes physical there are many variations that do not.

13. Emotion may be understood as a conductor from the giver’s mind to the receiver’s. But it may never reach the receiver, or it may never leave the giver’s mind.

14. The words of one person to another may induce an idea chain, if they share the same concept..........

15. Since no emotion is intrinsically superior to another, a person may use any form, from an expression of words (written or spoken) to physical reality, equally.

16. If words are used, and they proceed from ideas about emotion, then they are emotional and not literature; numbers are not mathematics.

17. All feelings are emotional if they are concerned with emotion and fall within the conventions of emotion.

18. One usually understands the emotions of the past by applying the convention of the present, thus misunderstanding the emotions of the past.

19. The conventions of emotion are altered by realisations of emotion.

20. Successful emotion changes our understanding of the conventions by altering our perceptions.

21. Perception of ideas leads to new ideas.

22. A person cannot imagine their emotion, and cannot perceive it until it is complete.

23. A giver may misperceive (understand it differently from the receiver) an emotion but still be set off in his own chain of thought by that misconstrual.

24. Perception is subjective.

25. A person may not necessarily understand their own emotion. Their perception is neither better nor worse than that of others.

26. A person may perceive the emotion of others more significant than their own.

27. The concept of a emotion may involve the matter of the emotion or the process in which it is made.

28. Once the idea of the emotion is established in a person’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the person cannot imagine. These may become emotional.

29. The process is mechanical and should not be tampered with. It should run its course.

30. There are many elements involved in an emotion. The most important are the most obvious..........

31. If a person emotion manifests same emotion in a group of scenarios, and changes the expression, one would assume the person’s concept involved the material.

32. Banal ideas cannot be rescued by beautiful execution.

33. It is difficult to bungle a good idea.

34. When a person learns his craft too well they express slick emotion.

35. These sentences comment on emotion, but are not emotion.

2015

2017

Polya Did you do anything cool with Orifice?

3D Scanned it using photogrammetry and generated a digital model.

That is cool!

Yeah, and I have then used the elements of the model and it’s manipulation in various places throughout the project.

Form Finding The collision of physical and digital modelling has continues throughout.

Write something Parametric...

Play Video

S2.2_OA_3D Scan

Send

Polya

Due to the organic nature of the model, somewhat familiar forms can be identified.

The landscape form is not dissimilar to a map of european flights IBZ typically recieves...

Write something Interesting...

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Polya

Introducing the site and treating video as sketch proved a good way to represent the research and [spatial] relationships.

Happn Extrinsic Missed Connections 1:200 Make Contact Tinder Proto-romantic Emotional Control Tower 1:50 Touch Feeld Intimate Multi Partner Play Room 1:1 Sexual Encounter Write something Interesting...

Send

Play Video

S2.4_GA_[Meta]Physical Plan

Polya I am still here, do go on Going back through previous work, I started revising drawings, and advancing ideas.

I see, and so Orifice Æsthetic became the basis for your proposal?

You got it! This is the first iteration of the “Emotional Control Tower”

Write something Suggestive...

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Play Video

S2.3_OA_Airport Elevation

Polya It didn’t end with Orifice Æsthetic. Other areas of the airport demanded modelling.

“Missed x Connections” represents the glass barrier separating arrivals and departures at IBZ

m m 50

3

That isn’t the only image on this page though is it...

Frame from 16 gauge floristry wire

Grey 23gsm tulle fabric panels

Parallels are drawn between the nature of airport security and condoms.

Removing sensitivity during intercourse, glass barriers act in a similar fashion Write something Suggestive...

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Green 23gsm tulle fabric structural frame

Silver 60/40 polyester/polythene thread Running thread Black 100% cotton thread. Zigzag stitch

Red 100% cotton thread. Long stitch

Polya The condom explains the prophylactic effect of glass barriers at IBZ At the same time, I started to really understand “The Medium is The Message” Almost perfectly demonstrated when Ronnie prefixed my tutorial with “Here is George to talk about sex” They are certainly interesting models

Write something Preconceived...

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0m

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m Polya It is important to note how architectural elements are expressed in through varying thread colour, stitch length and type.

SCALE

1:200@Extrinsic

Write something Technical...

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Polya So here is a bit of site analysis - based upon redefinition of physical and digital site.

What’s the deal with the apps?

By treating mobile dating applications as a metaphysical site, architectural analysis evolves and boundaries between physical and digital worlds intertwine.

Write something Metaphysical...

Play Video

S2.5_GA_[Meta]Physical Site Analysis

Send

Polya Moving elements in the isometric drawing show • Revolving doors • 737 Landing • 737 Runway taxi • ECT Influence So its about the plane landing?

No, its a moving drawing rather than a video, that meaning it doesn’t warrant telling story...

Why? Because, why not? We have the means to make drawings move Write something Abstract...

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Play Video

S2.8_MD_Abstracted Isometric

Happn 10% OXF - DBN 7 @ 1:200

Tinder unknown Message not delivered ? @ ?:?

Tinder 48% OXF - FNS Save for Later

Feeld 60% OXF - ???

Incompatible

Feeld 99% (Invite to IBZ) OXF - PTO NSA @ 1:1

Tinder 45% OXF - LIV Tinder 4 @ 1:50 (Keep for RTN) 32% Oxford Tube 8 @ 1:200

Tinder 83% OXF - BLF 3 @ 1:50 (Invite for Drink)

Tinder unknown Message not delivered ? @ ?:?

Tinder 59% LCY - MAD - IBZ RY 7250 6 @ 1:50

Tinder 82% Tinder LCY-PMP 4% (Do not Harass) 4 @ 1:1 LCY - via AND - IBZ -2 @ 1:50

Tinder 59% LCY - MAD - IBZ RY 7250 6 @ 1:50 Tinder 55% (Keep in cache) LCY - BAD NTS (No Touching, Sorry)

Tinder 70% LCY - DUB - IBZ C0cK 12/10 @ 1:1 (User Defined) Feeld (Multi-(Partner) Lay-Over) 87% LCY - AMS - XXX - IBZ PV5201 12/10 @ 1:1 (User Defined)

Tinder 82% LCY-PMP 4 @ 1:1

Happn 75% BRX - via LCY - IBZ 10 @ 1:200

Feeld 64% LCY - via MSL - IBZ 7 @ 1:1 (DP)

Happn 69% BRX - via LCY - IBZ 12 @ 1:200 (Sign off with X’s)

Tinder 92% LCY - MCH - IBZ 9.5 @ 1:50 (Exchange Whatsapp)

Feeld (Explicit Photo Messages Recieved) 98% Tinder LCY - via MAD - IBZ 10 @ 1:1 (Kink Guaranteed) 4% (Do not Harass) LCY - via AND - IBZ -2 @ 1:50 Feeld Tinder (Via Passport) MESSAGE NOW 83% ZGZ - IBZ MAD - IBZ 11+ @ 1:1 10 @ 1:50 (Bring lube on date)

Feeld 28% LCY - LIS 3 @ 1:1 (Probable Bot)

Tinder 80% (Own Villa) LCY - IBZ (Via SLZ) NSA @ 1:50

Tinder (Multi-Lay-Over) 99% LCY - TOL - IBZ SXY6739 DTF @ 1:1 (Promosexual Liberation)

Happn 59% LCY via NCE UNKNOWN

Happn 8% LCY - ???

10 @ 1:200

Happn 9% LCY - MSL - IBZ VY69 7 @ 1:200

Tinder (Multi-Lay-Over) UNK% MSL - TOL - UNK **Messages Stopped**

Tinder 80% (Own Villa) LCY - IBZ (Via SLZ) NSA @ 1:50

Tinder 52% LCY - via MAD - IBZ 7 @ 1:50

Feeld 64% LCY - via MSL - IBZ 7 @ 1:1 (DP)

Tinder ERROR% ERROR - ERROR - ERROR Tinder Bot Assumed NO NOT DISCLOSE CC DEATAILS

Tinder (Emoji Messages Only) 22% (gif) TUS - via HYR - IBZ 5 @ 1: 200 (Keep Laughing, potential chance meeting) Play Video

PY_LOC_737 Location Plan & App Tracker

Tinder 62%

Polya Interesting, another “moving drawing?”

You got it! The threshold between the physical and digital are further blurred.

Messages between dating apps are congruent to aircraft flight paths.

I can see the similiarity The holding patterns of aircraft are also interesting. The equvalent is the holding of potential matches in a device cache during flight, only accessible the device is switched on again after landing Write something Suspending...

Send

Polya I see, and the arrivals board is in the same aeronautical language, makes sense.

That’s the idea, the interventions are all based in IBZ airport. After all, The Medium is The Massage!

Write something Interpretive...

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Play Video

S2.10_ANI_Arrivals Board

Play Video

PY_PERS_53 ECT Runway Perspective

Play Video

PY_DET_14 Jet Bridge Detail

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ECT

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Play Video

PY_MD_Olfactory Intervention

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NOTES MONOCHROMATIC LED FLOOR TILE DETAIL. TILE COLOUR IS REACTIVE. TILE COLOUR CONTROLLED VIA INTERPRETATION OF LOCATION BASED DATING APPLICATION MESSAGES

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TOP LAYER B

FLEXIBLE TOP LAYER TO TILE TO BE CONSTRUCTED FROM RECYCLED POLYMER ALLOWING FOR THERMAL EXPANSION, AS WELL AS CREATE A WARM-TO-TOUCH SURFACE FOR INTIMATE COMFORT AND A WIPE-CLEAN SURFACE FOR POST-COITAL HYGIENE

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FOR FURTHER GUIDANCE, SPECIFICATIONS AND INFORMATION ON HOW TO READ THIS DRAWING, PLEASE REFER TO APPROVED ZONE DOCUMENT “PartY” SECTION Y5 EROTICATECTURE THIS DRAWING IS TO BE READ IN CONJUCTION WITH FULL P30030/34/37 SUBMISSION

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FRONT EMITTING RGB LED STRIPS LAID IN 12no UNITS PER STRIP STANDARD CONNECTORS AT ENDS

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CUT ONLY AT THIS POINT

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FLEXIBLE POURED RESIN TO HOUSE LED STRIP HOUSING TO BE IP67 MIN

LED STRIP SHOWN 5x ACTUAL SIZE @ A1

BLUE LED EMITTER B

SEQUENTIAL COLOUR TILES

TILES 1:100@A1 EMISSIVITY @100,000 LUMENS FOR OPTIMAL LIGHT COLOUR TEMPERATURE AND COLOUR CONTROLLED BY INCREMENTAL ADJUSTMENTS TO INDIVIDUAL LED EMISIVITY

RED LED EMITTER R 43

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YELLOW HUE ACHIEVED BY INCREASING RED & GREEN WITH LOWER BLUE INPUTS

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REFLECTIVE SUBSTRATE

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REFLECTIVE SURFACE TO BE MADE UP FROM DISCARDED ALUMINIUM RINGPULLS (FREELY AVAILABLE AT IBZ)

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PY/DET/03_P Job No.

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AS SHOWN@A1

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TILES TO BE SEQUENTIALLY CONNECTED TO DRIVERS AND CONTROL UNIT HOUSED WITH EMOTIONAL CONTROL TOWER

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PartY

LOW VOLTAGE CONNECTOR

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BASE OF TILE TO BE CONSTRUCTED FROM DISCARDED AIRLINE PET MEAL TRAYS TRAYS TO BE CRUSHED, PELLETED AND FORMED INTO TILE BASES

15022086@brookes .ac.uk | +(0)7850 042970

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www.faegen-blog.tumblr.com

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George Williams | Zone5 | Oxford School of Architecture

NOTES

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FOR FURTHER GUIDANCE, SPECIFICATIONS AND INFORMATION ON HOW TO READ THIS DRAWING, PLEASE REFER TO APPROVED ZONE DOCUMENT “PartY” THIS DRAWING IS TO BE READ IN CONJUCTION WITH FULL P30030/34/37 SUBMISSION

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Scale: 9.5@1:50 (Exchange Whatsapp)

Drawing Title

Physical GA Plan GF Project Name

Drawing No.

PartY

Date

PY/GA/001_P Job No.

May 2017

Scale

P30030/34/37

1:500@A1

George Williams | Zone5 | Oxford School of Architecture www.faegen-blog.tumblr.com 15022086@brookes .ac.uk | +(0)7850 042970

NOTES METAPHYSICAL INFORMATION AND CONNECTIONS SHOWN IN PLAN. ETHEREAL DATA INFERED FROMPRIMARY SOURCES. SPECULATIVE SPATIAL RELATOINSHIPS PROPOSED

PROJECTED LOCATION OF AT LEAST 1 FEELD USER ALLOW FOR “SWIPING AS A COUPLE” PROJECTED LOCATION OF GEN Y TINDER USERS TOLERANCES TBC ON SITE APPROX. LOCATION & INFLUENCE OF HAPPN USERS NOTE: DO NOT SCALE FROM THIS DRAWING

6.2@1:50

FOR FURTHER GUIDANCE, SPECIFICATIONS AND INFORMATION ON HOW TO READ THIS DRAWING, PLEASE REFER TO APPROVED ZONE DOCUMENT “PartY” THIS DRAWING IS TO BE READ IN CONJUCTION WITH FULL P30030/34/37 SUBMISSION

CEILING FARADAY PRINCIPLE SHOWN IN PLAN NOTE DEFINED ENTRY/EXIT IN CEILING ETHEREAL NETWORK SHOWN IN PLAN

SHOPPING CONCESSIONS

INACCESSIBLE AREAS SHOWN HATCHED

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Flight:

LCY-IBZ TT811

Origin: TINDER Arrival: 1750 | 92% Chance Success Scale: 9.5@1:50 (Exchange Whatsapp)

Drawing Title

[Meta]Physical GA Plan 1F Project Name

Drawing No.

PartY

Date

PY/GA/101_P Job No.

May 2017

Scale

P30030/34/37

1:500@A1

George Williams | Zone5 | Oxford School of Architecture www.faegen-blog.tumblr.com 15022086@brookes .ac.uk | +(0)7850 042970

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Drawing Title

Intervention Axonometric Project Name

Drawing No.

PartY

Date

PY/AXO/87 Job No.

May 2017

P30030/34/37

Scale

DO NOT SCALE

George Williams | Zone5 | Oxford School of Architecture www.faegen-blog.tumblr.com 15022086@brookes .ac.uk | +(0)7850 042970

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