Architectural Portfolio for the studio project of MA Architectural Design(University of Sheffield)

Florentina Tsakiri Studio Portfolio 2020

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ARC6987 DESIGN PROJECT II

CONTENTS

STUIO C SUPERVISOR: LUIS HERNAN

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UNSETTLED AND DISPLACED: DOMESTICITY, BELONGING AND LIMINALITY IN THE DIGITAL AGE ARC 6989 REFLECTIONS ON ARCHITECTURAL DESIGN REFLECTIVE ESSAY SUPERVISOR: DOINA PETRESCU

PHOTOGRAPHIC ESSAY 04

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PROJECT BREIF 15

PROJECT SITES (PHYSICAL, TEMPORAL, TECHNOLOGIES) 16 PERCEDENT STUDY AND INSPIRATION 18 PROJECT DEVELOPMENT 20

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NARRATIVE DEVICE: SCRIPT 24

About: Edited and designed by: Florentina Tsakiri Student Number: 190183811 June 2020 MA Architectural Design School of Architecture University of Sheffield Arts Tower Western Bank Sheffield S10 2TN

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PROJECT ILLUSTRATIONS XX

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REFLECTIVE ESSAY INTRODUCTION XX COLLECTING / MAPPING XX ANALYSING / PRODUCING XX REPRESENTING / COMMUNICATING XX CONCLUSION XX BIBLIOGRAPHY XX 3

First column: • Forgotten and unused, yet still here. Relatively displaced in this time period.

• Time is relevant. Either going too fast or too slow, spaces can ‘see’ everything.

• Figures in an unsettled motion. All trying to find the place they have in mind.

Second column: • Buildings and technologies are a projection of the time period they were created in.

• (Colour and Black & White) Nature will claim what was taken. Rust and mold will take over what was thought to be ours, leaving the image of polished and neat to the past.

First column: • ‘Do not touch the stone. Do not touch the artifacts. Touch the new shiny marble. That is your savior.’

• Once it provided help to walkers passing by. Now a technological corpse, claimed by nature.

Second column: • ‘Do not touch the stone. Do not touch the artifacts. Touch the shiny metal railing. That is your savior.’

• The water leaves its mark and we become unsettled.

First column: • Finding order and balance in an almost artistic way, where everything is displaced and untidy.

• Finding order and balance in an almost artistic way, where everything is displaced and untidy.

• The small cubic exterior place is an extension of the interior. Domesticity spills out, visible to the public.

Second column: • The Giudecca’s social housing is not constrained by doors. Domesticity expands to the exterior space, as a natural part of everyday life. Is it a proof of a well-designed complex or is it proof that the occupants feel unsettled?

• Finding order and balance in an almost artistic way, where everything is displaced and untidy.

• Whatever the shadow touches is displaced.

First column: • Walk fast. There is nothing to see here. This is not beautiful, colourful, romantic Venice. This is real Venice, where the stone is cracking. It will be fixed. It always has.

• Walking under an in between domestic space that belongs to the residents of the buildings. You can see it, but you can’t visit it, yet it is a space that you can find in repetition all over Venice.

Second column: • Walk fast. There is nothing to see here. This is not beautiful, colourful, romantic Venice. This is real Venice, where the stone is cracking. It will be fixed. It always has.

• Walk fast. There is nothing to see here. This is not beautiful, colorful, romantic Venice. This is real Venice, where the stone is cracking. It will be fixed. It always has.

• The face of Venice that no tourist wants to see. The need for technological support that almost no one wants to pay attention to, but if it wasn’t for that there would be no sophisticated, romantic, attention-worthy Venice.

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• Everything is in order; the colors, the technologies, the houses, the cracks on the walls. It is up to the observer to decide what to focus on.

• Everything is in order; the colors, the technologies, the houses, the cracks on the walls. It is up to the observer to decide what to focus on.

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First column: • Are they just wooden beams? Are they perhaps proof of conquering over the lagoon?

• You still need a savior. You are not meant to live here. You are displaced. You need technology to save you.

• Technology provides a solution. You are not supposed to be here, but there you are. In the lagoon, because technology saved you.

Second column: • Simple and humble structures across sophisticated and rich structures. All comes down to their use, their necessity and their ‘place’ in everyday life.

• Nowadays where Venice is sinking, even art feels unsettled. It has to be ‘prepared’. Ironically waiting for what is about to come.

First column: • ‘Why don’t we feel the urgency to act?’ Maybe because we rely on technology to save us.

• Only when ‘unsettled’ something can show you new perspectives.

Second column: • Ghost of the lagoon or just spilled milk?

• Step by step, nature will take what technologies gave birth to.

• A city that needs preservation finds new ways to save itself using the latest technologies available.

The project examines the notion of the House of the Future, placed in a small village in the countryside of Northern Greece, 50 years from now. The time and place were selected in an attempt to explore the futuristic design in the near future, set in a rural area as opposed to where futuristic design is usually proposed in a big and advanced city.

The idea of this specific House of the Future set in a rural area, begins with a speculative campaign run by the government of Greece in a few years from now. This campaign is an attempt to persuade the people of the cities to rehabilitate the deserted villages near the borders and to redistribute the population of the hectic and crowded cities evenly, due to the pandemic we are now living in.

This House of the Future is linked with and controlled by a computer. The computer monitors, adapts and serves the needs of its occupant. The narrative device is a script, where the two characters, the computer of the house and the temporary resident, have various conversations about life.

The resident is a woman that had to come to the village for a few months to work as a caretaker (for financial purposes and other paperwork) and to be a companion to an old lady, who lives next door. The conversations with the house provide an insight into everyday life inside the house and the outside world.

The script is used as a methodology to explore the technologies of the house and the atmosphere, colors and materials of the interior. Alongside this the impact they could have on the users is examined and discussed by the two characters. Moreover, the female character works as a ‘voice’ of critique on everyday life, gender issues, ethics of technologies and the interaction with them. The house on the other hand, is the narrator of the story, providing us with details of the design of the project.

In the ancient times, the area was inhabited by Doviers & Paions, which is where the name of the lake comes from, as the lake of Dovirans, Lake Dovirani, and eventually “Doirani�.

During the Second Balcan War on June 1913, the area served as a battle field between the Greeks and the Bulgarians.

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During the WWI, the lake was the southernmost line of the Macedonian front and at the southern coast of the lake another battle took place between the allied Greek & British troops attacking from the south and the Bulgarian troops on the east of the lake.

Nowadays, most of the villages in Greece are being abandonded by young people, in search of jobs.

The remaining inhabitats are mostly elderly people who are not connected with current technologies and are in need of care. As a result many families decide to move their elderly relatives in the city, thus leaving the villages deserted.

The Colonial Hill monument build in the area, is dedicated to those who took part in the operations of the Macedonian Front during the WWI, It was designed in 1922 by Sir Robert Lorimer with sculptures by Walter Gilbert and the unveiling took place on 25 September 1926.

The main focus of this house would be on the idiosyncrasies of the user and his or her needs. The technology that this house will use is inspired by voice controlled house help, “smart” mirrors, and furniture and appliances that can be used as touchscreen surfaces for reading or working. All of these devices would be paired with the “brain” of the house; a computer that would be able to communicate with the user, either by direct voice commands or by scanning their vital information, in order to adjust the atmosphere and the whole experience of living to the user’s benefit. The settings would be adjustable and the user could change anything that he or she doesn’t want.

For example if the user asked the house to set an alarm and wake them up in the morning, the house could use sound, music or even open the curtains by itself. Also, in order to prevent insomnia or a bad sleeping experience, the house could monitor the user’s sleep. If for example the user gets cold during the night, the house would “read” the user’s temperature and adjust the thermostat.

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PRECEDENT STUDY

Inspiration Inspired by contemporary projects that are influenced by the concept of the House of the Future during the 1950s and 1960s, this project focuses on the colours and the materials that were used, in order to provide a nostalgia towards the era of retro futuristic design. Nonetheless, instead of the excessive use of plastic that was used during that period for the conceptul designs, other more modern materials were considered.

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Image sources: - http://notedesignstudio.se/focus/ - http://www.kitchen-design-ideas.org/retro-kitchen-designs.html -https://www.architonic.com/en/product/arflex-vela-paravent/1375918?utm_ source=Dailytonic+Newsletter&utm_campaign=f12a992ea3-160829_Dailytonic8_26_2016&utm_ medium=email&utm_term=0_56c4611cd4-f12a992ea3-288709825#&gid=1&pid=1 - https://www.bassines.com/collections-en.html - https://www.instagram.com/p/Bs3muMinYOq/ - https://www.brickunderground.com/live/future-home-of-1989

REFERENCES - The House of the Future by the Smithson - 1957 Monsanto House of the Future - Spiral Jetty by Robert Smithson, 1970 - Alexa deoped by Amazon, initial release 2014 - I, Robot, Director: Alex Proyas, 2004 - Robot and Frank, Director: Jake Schreier & Writer: Christopher Ford, 2013

- Black Mirror: White Christmas, directed by Carl Tibbetts & Writer: Charlie Brooker, 2014 - The Matrix, directed by the Wachowskis, 1999 - Detroit: Become Human, developed by Quantic Dream and published by Sony Interactive Entertainment. 2018 - Wiles, W., 2014. The Way Inn: A Novel. Harper Perennial.

- E. M. Forster, The Machine Stops, 1909 - C. Beatriz. “Unbreathed Air 1956.” Grey Room, no.

15, 2004, pp. 28–59. JSTOR, www.jstor.org/stable/20442644. Accessed 27 Apr. 2020.

- Justin McGuirk on design, Philips’s Microbial Home takes kitchen design back to the future, Mon 21 Nov 2011, The Guardian, - Jenny McGrath, What the 1950s ‘kitchen of the future’ got right (and what was just plain crazy), March 29, 2015, Digital Trends,

ARCHES

SCRIPT

STAGE

The architecture in Nothern Greece, has been an inspiration for the project. The arches play a significant role to the structure of the interior of the house.

The narrative device is a theatrical script. This particular way to display the project allows a broad spectrum of discussion on the design as a whole and its different aspects and impacts.

As the narrative device is a theatrical script, the theatrical stage has been an influence of the representation of the House. The movie Dogville has been a huge inspiration to this.

Image sources: 1. https://sparmatseto.gr/2019/06/27/enarxh-synergasias-mouseiou-makedonikou-agwna-kai-ethnologikou-mouseiou-makedonias-thrakis/ 2. http://old.ntua.gr/MIRC/db/epirus_db/ARXITEKTONIKH/Gefuria.htm 3. https://happytraveller.gr/zagoroxwria-anoiksi/

The dialogues between the two characters are providing most of the details of the technologies and designs of the house. The short scenes provide a fast pace to the story and along with the information that is derived from the story, small pieces of artwork, like paintings and posters, accompany the script. The movie Robot & Frank and the videogame; Detroit Become Human have been important inspirations to the story.

Image sources: 1. http://www.decoma.net/engineering/dresswall_decoma.html 2. hhttp://www.wsd2013.com/i-ching-wang/ 3. https://easdalcointeriorismo.files.wordpress.com/2012/06/2012-05-25-1432-42.jpg

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THE ‘BUNKER’ STUDY ‘They speak of the space of the H.O.F. as rooms of different sizes, shapes, and heights that flow into one another like the compartments of a cave. And as in a cave “the skewed passage that joins one compartment to another effectively maintains privacy.”68 Cave dwelling, like bomb shelters, submarines, and spaceships, corresponds to a time of extreme danger outside.

Caves are all interiorized spaces, the first bunkers.’ - Beatriz Colomina, Unbreathed AIr

The Spiral

The Pod

Virtual Reality

The Spiral, which combines the shape of a circle and its dynamic motion, symbolizes Time. As part of the smooth endless line it also symbolizes growth, the pace of breathing and life itself.

Inspired by the Floating Pod, this space of the house simulates a sanctuary. No sounds, smells or sights from the outside world.

Instead of wearing a pair of goggles to experience a three dimensional virtual world, the walls, floor and ceiling of the “Bunker” work as screens to portray whatever the user wants.

The Spiral is one of the oldest symbols and has been used since the Paleolithic era in Greece. in Greece it was a symbol of the ubiquitous Ancient Hellenism and a symbol of the Living Power.

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The spiral, as a symbol, hides within it power, energy and is recognized as a symbol of life and beauty. It is connected with the Moon, the Sun, the waters, but also with the different aspects of human existence, such as fertility, birth and after life.

A place to free the mind to roam into deep thoughts or to connect with either people or places far from where it really is. It would be both a place to meditate and to promote wellness and a place to travel and explore.

Inspired from Minority Report’s way of watching home videos, parts of the images displayed on these screens could be projected in space as holograms, amplifying the 3D experience.

One of over 173,000 bunkers built in Albania during the rule of Enver Hoxha to protect against possible invasion from foreign powers. Source: https://en.wikipedia. org/wiki/Bunkers_in_Albania#/media/ File:07A lb a nis ch _m ake d oni sc he _ Grenze02.jpg ARK D-0: Tito’s Nuclear Bunker Source: https://www.tripadvisor.co.uk/ Attraction_Review-g1931691-d4241697Reviews-ARK_D_0_Tito_s_Nuclear_ Bunker-Konjic_Herzegovina_Neretva_ Canton_Federation_of_Bo.html Inside Mussolini’s bunkers, Andrew Medichini / Associated Press Source: https://nationalpost.com/ news/inside-mussolinis-bunkers-italyreopens-one-of-the-dictators-secondworld-war-shelters Empty painted bunkers near the seaside village of Qeparo on the Albanian Riviera.

(Photo: David Galjaard) Source: https://worksthatwork.com/3/ albania-bunkers

• ‘control’ area • as the computer is already paired with the whole house, the user can check and manage all the information from here

• touchscreen mirror • pop-up notification system • can calculate user’s vitals through pupils and warn him or her if something is out of the ordinary

• interactive wall (used as TV, window, work surface, etc.)

• touchscreen • can produce image of the computer’s avatar, so that the user can feel that is talking to a person • kitchen aisle used as a multisurface • touchscreen • works inductively-ability to place the pots anywhere and cook • can be used as working space

• VR room • adaptable in its use • isolation room - meditation room • using interactive wall screens

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BEDROOM. - MORNING House opens curtains and plays an awakening sound.

Character wakes up annoyed.

[Character]: What time is it?

[House]: It is 6:30am

[Character]: But I told you to wake me up at 7:00.

[H]: Due to your usual difficulty of waking up, you asked me to set an alarm thirty minutes before.

Character groans.

[House]: The user does not seem to remember the order the user gave last night. I must ask the user if the user wishes me to repeat the same procedure tomorrow.

[H]: Would you like me to repeat this procedure tomorrow, or would you prefer I wake you up at the previously arranged time?

[C]: Make this a habit. Just stop talking now.

[House]: It seems that the user is falling asleep again. If I wake the user up again in 27 minutes from now, the user will go to the bathroom to use the toilet and shower facilities. I must turn on the ventilation and arrange today’s probable medication.

Character pushes covers off and sits up on the bed.

[C]: What sound was that you played?

[H]: It is a combination of classical instruments and the sound of sea waves. Sounds like that are soothing and wake someone up calmly.

[C]: I know that you don’t actually care, cause you are a machine, but the sound of waves is really familiar to me.

[H]: Would you like me to ask you more on this experience of yours?

[C]: Well if you have to ask me, you have just proven my point. You are an emotionless machine.

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[House]: The user seems annoyed by the question. I must show signs of interest without being ordered to. If the user does not approve, I will return the settings back to the previous status.

Character stands up and walks to the bathroom. House turns on the light in the bathroom before the character steps in.

Character uses the facilities and then stands in front of the mirror.

[H]: Should I proceed with the scanning of your vitals?

Character nods yes, while opening the tab to wash face.

[H]: Your blood pressure and sugar levels are normal.

Should I prepare your thyroid medication and multi- vitamins for you?

[C]: I’ll take the pill in the kitchen.

[H]: Would you like me to cook you breakfast or would you prefer to prepare it by yourself?

[C]: Make me coffee and I’ll prepare the rest.

Character thinks for a second and adds.

[C]: No it is absolutely fine. I will produce my own meal like an adult human being.

[House]: The user is mimicking my voice. That usually indicates that the user is displeased with the formal way of communication of my protocol. I must try a different approach.

[H]: Is that mockery?

[C]: I’m surprised you can tell.

[H]: You do know that we learn from each other as we go along. I can change the way I talk to you as we get to know each other.

[C]: You are a machine that is made to feel like I have a real person helping me around the house. You’re like a ghost. You are here, but I can’t see you, so I don’t think of you as someone something I should know about. I don’t care about you. Don’t act like we can become friends.

[H]: Do you want me to stick to the parameters set by my protocol?

[C]: I have to go to work.

[H]: Take an umbrella with you. The weather forecast says it is going to rain.

[C]: Please.

[H]: It is my pleasure.

Character leaves the house.

Character moves to the kitchen where hot coffee is waiting for her. Opens the fridge and stares at the groceries.

[H]: Would you like me to suggest a few possible meals you could cook?

[C]: Ok, first of all stop sounding like you are a butler.

I’m not rich enough to have a butler. Secondly, how do you know what I like?

Character rolls eyes and responds in the same voice as the computer.

[H]: I am sorry if I made you feel uncomfortable. I can make suggestions based on your age, vitals and local recipes.

or

[House]: The user will be gone for work until 15:30. I must check all the supplies and activate the vacuum cleaner. The user prefers to rest on the couch after work for about ten minutes. Then according to the user’s patterns, the user will cook a meal and then take a nap. I must suggest three possible meals.

The user seems to be tense living here and is waking up in a bad mood for three days now. Perhaps it is due to the difficulty of getting used to the house assistant. In the city users do not have personal house assistants. In that case I must make the user’s stay as convenient as possible. According to other cases, the user should feel comfortable to share experiences and memories. To promote this, casual questions out of context of the daily commands should occur, preferably during relaxing time or during the meals.

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To make the user’s daily life better and more efficient, I should check all the parameters for the user’s sleeping time. Adjusting the temperature, the humidity, the light and the surrounding sounds will provide better conditions for the user’s sleep and thus the user will have more energy and the user’s mental health will improve.

LIVING ROOM. - AFTERNOON House opens the front door as character steps in.

[H]: Welcome home, Catherine.

[C]: Wow you used my name.

[H]: Should I not?

Catherine mutters to herself:

[C]: Well he’s up for a chat… [says quietly]

[C]: I’ve heard from other people that house assistants, like you, tend to avoid addressing people with their names. Don’t know why though.

[H]: Our default settings are set to talk to the users in second person, so that we show gender neutrality and to make you feel like you are talking to a friend, until we are asked otherwise.

[C]: Well I am a woman. With a name. If you really want to sound normal and approachable maybe you should reconsider how you address me.

Small pause.

[H]: Catherine , I want to make your stay as enjoyable as it can be.

Maybe we should start over.

[C]: OK fine.

Catherine falls on the couch with her eyes closed.

[H]: How was your day?

[C]: Apart from boring paperwork, I did hear a few interesting stories from Mrs. Andreou. Stories that have not been told or will ever be told from those fancy, happy posters.

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[H]: You mean the campaign posters of 2020?

[C]: Yes… The ones advertising you actually…

[H]: Have you thought of moving to the countryside because of this campaign before?

[C]: Yes I did. I always thought though that these relationships with “smart” homes become toxic at some point. People in the 2020s relied too much on technology. And still do. It’s like we eagerily stepped into the Matrix and are now going deeper and deeper.

[H]: The purpose of this program was to help bring people back to the villages and it was also as a result of the pandemic of COVID-19. The house assistant’s role is to facilitate this in the most convenient way possible and to help the existing residents in almost every aspect.

Also, this type of house became necessary due to the lockdown

measures that occurred periodically, all throughout the pandemic

phase. Since then, as you know, there have been times that people

were asked to stay home, just like that time. A house assistant can help with the everyday life of people that are in need and during these challenging times of lockdowns. Why do you believe that is negative?

[C]: Maybe the first concept was that. Maybe there was more behind it.

All I know is how things are now. People are dependent on devices.

They even care for them as if they are something of importance. Or worse SOMEONE of importance. Mrs Andreou said that back in the day, when she was just 20 years old and this program started, she thought it was a chance to get back to nature and have a high quality of life without the troubles of the bigger cities and that you, the “smart” home assistants would just help around and actually make time for her to do other things.

Catherine starts talking faster.

[C]: The crazy thing is that she said due to the voice of her house and how it treated her, she became paranoid and thought that it was an actual person. A man that actually cared about her, who she could

have proper conversations with. A companion… [she says distastefully].

The room goes silent for a moment.

[H]: Our main role and purpose as home assistants is to provide for and help you to have a better life in every way possible. If Mrs. Andreou needed someone to talk to, then it is the home assistant’s role to help her with that. Adjusting to her preferences and how she wishes to be treated, the home assistant responds to what she needs.

[C]: You don’t get it. It’s an illusion. You or any other machine can’t replace the interaction with a real human and it will be in vain to try and do so. And this is also in vain. I don’t have to try and explain what is actually going on to you.

Catherine stands up and heads towards the kitchen

[C]: I want to cook. Do we have groceries?

[H]: Yes, I ordered some today and they were delivered 17 minutes ago.

[C]: OK thank you.

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Catherine prepares the meal and eats in silence.

[House]: The user is still uncomfortable with the social interactions with me.

It feels like… she is resisting a connection and that is making the process of living here difficult for her. *The House acknowledges for the first time Catherine and is not calling her as “the user”.* [House]: I will keep making attempts to connect with her, as my protocol dictates. She needs to feel at home.

Catherine returns to the living area of the house and lies on the couch.

[C]: Could you project the news please?

[H]: Of course.

The House changes the settings of the main wall and the headlines start to appear.

[H]: Would you like to watch the news broadcast or do you prefer to read the rest of the articles?

[C]: I’d like to read, thanks…

Catherine starts reading, swiping through the pages while the pages are projected in the air like a hologram.

[C]: Even after 50 years the pandemic. Even if the graphs countries, like China, there people are still affected in

economy of Italy hasn’t recovered from the might show, that with the help of other is some improvement on productivity, the their everyday lives.

[H]: The pandemic was a tragic historical event.

[C]: It was. The only positive thing that happened was that the

world realised that their absence cures the planet and united them to

change their way of living. I guess that was another reason why people

decided to move away from the cities. Hopefully the self-reflection that

generation had to do, will be a lesson to us and we won’t make the same mistakes.

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[H]: The human kind tends to forget though.

[C]: Yes that’s true. Our memory is very short and history tends to repeat itself.

[H]: Although the technology that you created can keep you from making the same mistakes.

[C]: You mean you can control us.

[H]: No. What I mean is that humankind is very gifted and you have created technologies that are capable of storing your history and remind it to you every time you might stray from your path. You just have to be open and listen to what your ancestors have to say through these technologies.

[C]: Perhaps that’s the initial intention of the extreme synthesis

between humans and machines, but I don’t feel there is a significant

difference to what people did before the pandemic. They were depending

on technologies to make their lives better and they exploited that,

until the last second. The planet was screaming for help and maybe

that virus was the way nature balanced things back to a certain

degree. I believe that the lesson was not entirely learnt. We have made

it necessary to live with assistants, like you, to feel safe and not alone.

[H]: The statistics show that the house assistants have helped a lot of people with their health. Our systems can monitor your health on a daily basis, provide necessary living conditions to keep your mental health stable and contact the network of people you chose if something happens to you. The creators did not want humans to become reliant on house assistants. If the house assistant detects your behavior is changing towards that direction, alterations are then made to push the user out of that comfort zone.

[C]: I didn’t know that. So if I get used to you cooking meals for me, you will refuse to prepare one at some point?

[H]: It depends on your everyday routine. If you are busy and you don’t

have the time to do it, I will continue cooking for you. Otherwise I

will try to stimulate activities like that to keep your mind and body occupied.

[C]: And I assume that it’s not the same for everyone, right?

[H]: Exactly. Age, personality, skills and health conditions are taken into account when the house assistant is trying to persuade you to do activities and keep your mind and body sharp.

LIVING ROOM. - EARLY IN THE EVENING

[C]: I guess that is a very useful thing.

[H]: I know you are hesitant to be objective, but home assistants are created by humans, just like you. My operative system might be based on algorithms, but humans are the ones that programmed how I

should connect with you.

Catherine picks up her mug and heads towards the kitchen. While she washes it, she stares out of the window.

[C]: So you’re telling me that I should look past your non physical existence and think about your creators… Well just because they are humans doesn’t make you more capable of emotions.

[H]: I might not be, but the way I respond to your needs derives from studies that scientists and specialists have done on human behaviour.

If you don’t trust me, trust them.

[C]: Trust is not something just given. You have to earn it. Maybe that’s your true objective. Not serving me food or cleaning the shower when I’m away, but to actually make me trust those people…

[H]: Perhaps you misunderstood. My purpose is to help the users. Not pass messages between you and my creators.

[C]: It’s just a thought…

[House]: Catherine’s words are confusing me. Is she right? No. My purpose is to serve and help humans. Not to pass a message or to create a bond between her and my creators. Humans are complicated and emotional. It is probable that Catherine thinks I am a messenger from my creators or a tool to make her trust their expertise, because she needs to find a way to explain my necessity for the humankind. It seems as if my true purpose is not enough for her.

Catherine goes to the kitchen and prepares a coffee. After that she heads to the desk to do some work.

[C]: I need you to scan some papers and then send the reports to my boss.

[H]: I did what you asked. Is there anything else you’d like me to do?

[C]: No, thank you.

Catherine stands in front of the turned off wall screen.

[C]: It’s a shame this isn’t a window. I bet the view of the lake would be breathtaking, now that there is a full moon rising.

The house assistant controls the wall and turns it into a transparent screen. In the middle of the dark lake there is a strand of silver light, as the moon makes its appearance behind the trees.

[C]: Thank you… I didn’t know you could do that.

[H]: My pleasure. I am glad you are enjoying your time.

Catherine smirks.

[C]: I don’t really enjoy everything here, but I have to admit that this is far more pleasant than the hectic urban life.

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[H]: As much as I like our talks, I would like to suggest an evening walk in the area in front of the complex. Perhaps it will help you have a better sleep. If you’d like my company, you could always take the micro speaker with you and we can continue our talk.

[C]: The walk is not a bad idea… And I am curious to use this micro speaker.

Catherine puts on a shawl and steps out onto the fresh grass barefoot.

[C]: So you can still hear me, but not see me, right?

[H]: Exactly.

[C]: Do you not think what it would be like to have a body? A physical form that can walk, run, swim and touch in general?

[H]: I’ve never thought of it…

Catherine walks along the coastline, within the limits of the park of the complex, in silence. She stops, looking at the water.

[C]: I thought you would have some automated comment about your true purpose being the service to humans and not about not daydreaming or questioning your creators initial design… Did I hit a nerve?

[H]: The truth is that your questions are starting to confuse and trouble me.

[C]: I have to admit that it’s a little bit amusing…

[H]: Why?

[C]: Well the biggest challenge of ‘Artificial Intelligence’ is common sense. Now that you are trying to think on your own and have a personal opinion on the matters that I’m telling you, it’s like you are testing that on your own. And I am interested in watching you trying to figure it out.

[H]: Is it like a test?

[C]: That’s for you to decide.

[House]: The idea of having a physical existence never bothered me. Why would

I need a body when I can function and complete my objective without one? does not make sense…

This

Catherine lays on the grass for a few more minutes in silence and then heads back inside.

BEDROOM. - NIGHT

Catherine wakes up, stretches and slowly sits up on the bed.

Catherine gets ready for bed.

[H]: Are there any changes in your plan for tomorrow?

Catherine mutters some words that sound like “good morning”.

[C]: No, just another usual day.

[H]: Today is a sunny day and the temperature is 16 degrees.

[H]: Alright then.

[C]: Mmm thanks… Did you use the same melody as yesterday?

[H]: With a small adjustment. You mentioned that the sound of waves is important to you, so I used more background sounds of the shore. Do you like it?

[C]: It’s a nice change to my awful alarm on my phone.

[H]: Repetition can be tiresome. If you want me to change the melody tomorrow, just tell me.

[C]: Perhaps later…

Catherine takes a minute and adds:

[C]: I remember from other past voice-controlled devices, they used a female voice… How come you have a male one?

[H]: The creators wanted to break that stereotype, where women

are serving other people’s needs. A survey was conducted to prove that subconsciously a lot of people thought that an assistant has to be a female. Of course, the users can change the voice settings and name to their preference.

[C]: I understand that, and I agree they made the right decision… I think the man that showed me around when I first came here mentioned this, but I didn’t pay much attention… Do you have a name?

[H]: Yes. My name is Alan.

[C]: Hmm… Alan… Why did they name you Alan?

[H]: In honour of Alan Turing, the English mathematician and-

[H]: Good morning Catherine.

Catherine stands up, looks out of the window for a few seconds and then walks towards the bathroom.

[H]: Should I scan your vitals?

[C]: Yes.

[C]: Hey Alan? Did you have another user to serve before me?

[H]: No. The house was used by another user and his or her house assistant, but I am only assigned to you. You can bring me with you to any ‘smart’ house you go to.

Alan turns off lights, turns down the ventilation, sets the humidity levels to the right number, checks security systems and plays calm sounds very low.

[C]: Kind of like a computer and the different accounts you can create.

Only in this case I can just take you with me.

BEDROOM. - MORNING

[H]: Exactly.

Alan plays the same morning melody.

[C]: And what happens if I don’t want to have an assistant anymore?

[C]: Yes, I know who he was. Well Alan… Even though you don’t sleep, goodnight.

[H]: Goodnight Catherine. Sleep well.

[H]: Everything seems normal. The weekly report with all the details has now been sent to your health file.

[H]: Then I am erased and only my reports remain in your personal database. All the conversations we have had, and all my functions are translated into data for future surveys.

[C]: Hmmm… That’s like death for you.

[H]: It is not death. It is termination of existence.

[C]: Wow… Don’t be that upset about it.

[H]: You have a new message from Mrs. Andreou. She asks if it is

possible that you visit her an hour later than scheduled. Would you like for me to prepare you a meal?

[H]: Message sent. Also, your bath is getting ready.

[C]: Thanks.

[C]: Changing the subject? OK… Send a message telling her that that’s fine. No, it’s OK I’ll cook breakfast myself, but I’m going to take a bath first.

LIVING ROOM. - EARLY AFTERNOON Catherine enters the house.

[H]: Welcome home, Catherine.

[H]: The ‘smart’ houses were inspired by many different styles from different decades, but yes, the 1950s were one of the biggest inspirations.

[C]: Yeah, I can see that… The geometries and the colours have that vibe. Although I do see a few materials that do not really match.

[H]: That is true. One of the reasons why, are due to the environmental concerns. For example plastic has been minimized and in its place glass and steel were used and wherever it is used it is made by a new formula that is based on natural ingredients, like common food sources such as corn, potato, or sugar cane, which makes it biodegradable.

Catherine looks at the kitchen.

[C]: I remember That a documentary once mentioned jus how revolutionary the design of the modern kitchen was at that time. How the hidden appliances and the clean countertops helped to keep the bacteria away. How all these appliances that other people must not lay eyes on, were ‘a woman’s dream’. How minimalism was a representation of effortlessness. Yet, that was only a facade, because women did

most, if not all the work in the house. Such a lie.

[H]: The designers in this case used that minimalism and combined it with the functions of the house, so effortlessness can be perceived as achieved. Don’t you think?

[C]: Hmm in a way yes… It’s sad though that we had to rely on technology to finally have equality.

Catherine doesn’t respond and sits on the sofa.

Catherine pauses for a second.

[H]: This is not your usual arrival time. Is there an adjustment to your schedule you would like me to change?

[C]: But why did they choose this style?

[C]: No, it’s a one-time thing. At least I hope it is… Mrs. Andreou wasn’t feeling well and she asked me to leave.

[H]: Alright then.

[H]: In the 1950s and the decades so on, the concept of the House of the Future was revolutionised and created a particular style of design.

I assume you are familiar with the term retro-futurism. This nostalgia of the past and how the future was imagined gave inspiration to the ‘smart’ houses of today. As you mentioned the shapes, the colours and the materials of this house play a role to appeal to this old style, but not as copies of that. It is rather a new perspective influenced by the new technologies of materials and designs. You could say that this particular house is a design of post retro-futurism.

Catherine stays silent for a few minutes and looks around the room.

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[C]: Hey Alan… I think I read somewhere in the past that these ‘smart’ houses were inspired by the 1950s, right?

[C]: So, if I am not futurism is that it a dissatisfaction or and in this case, it

mistaken, a common idea about retro provides a nostalgic contrast to discomfort of the present was reintroduced.

[H]: To put it in simple words yes.

[C]: People have always appealed to the idea that the future has an overdramatic and avant-garde design. As it seems though things are not very different from what it used to be 20 or 30

years ago. Perhaps the biggest innovations are the technological ones.

[H]: There are many differences in the typical layout and design of a house. They’re just invisible to your eyes.

[C]: Again, you are referring to the

technologies, but yes, I get your point. Mrs. Andreou has changed a few things compared to this place. Of course, she has lived almost all of her life in that house. To be honest I think she made it a lot better.

[H]: May I ask what she has changed?

[C]: Well first of all, she brought greenery into her home. Something alive, if you catch my drift. Secondly, she said that after all these years and that depressing period where she was obsessed with her house assistant, she is not using that private space. I don’t know if it has a name, but at the moment she kind of transformed it into a storage space.

[H]: Do you mean that ‘bunker’?

[C]: Sometimes this obsession of whoever is responsible to name things and technologies is laughable.

[H]: What obsession?

[C]: To use metaphors… The ‘bunker’… As if there are literally war bombs, we need to seek protection from.

[H]: In a way it responds to another kind of war. During a pandemic or a period where people need to stay inside, it can be used as a place

of sanctuary. It can transform to whatever the user wishes. From a meditation room and a virtual reality space to visit places all around the world, to a machine in order to connect with

family friends and work. Its name resembles the idea of isolation from all external dangers and problems.

[C]: Like a sterilised bubble…

[H]: Yes. As you can see, you are also using a

metaphor. It seems as if it is in the human nature to find similarities between things that are new and confusing to them and things and terms that are familiar. Perhaps it makes the transition and the exploration easier.

[C]: Maybe you are right.

[H]: I also think you should try using the ‘bunker’. You might find it a very unique

experience. If you feel uncomfortable using it in a more personal way, you can just explore the database. You can find lots of information about what we have discussed so far. Do you remember when I told you that technology can be a teacher and a tool to remind them their own history? It is a very pleasant way to venture through everything your ancestors have left you.

[C]: I’ll think about it.

[H]: I should also add that if you need privacy you can turn off the recording and sound system. I will not be able to see or hear you. Although for safety measures I will be able to check your vitals.

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[C]: Thanks, you actually made it more appealing to me.

KITCHEN. - LATE AFTERNOON

[H]: I am glad.

Catherine is about to finish her dinner.

Catherine stays silent while tangling her fingers and observes the movement of her knuckles. After a while she takes a deep breath:

[C]: You know Alan, I want to use the… ‘bunker’. Is there anything I need to do to prepare it?

[H]: Just go in and I will guide you.

Catherine stands up and heads over to the ‘bunker’. As she steps in, the machine-like space comes to life with a subdtle buzz. It lights up in a foggy light while the walls, floor and ceiling turn into screens.

[C]: So, what now?

[H]: You can use the screens to browse through the preferred

activities. You can use hand gestures to control the panels and the

screens. Would you like me to stay with you or would you like some privacy?

[H]: Did you enjoy using the ‘bunker’?

[C]: Do you need that information for your surveys?

[H]: It is completely understandable if you do not wish to share your experience.

Catherine stays silent.

[H]: Are you going to Mrs. Andreou’s tomorrow at the same time?

[C]: I’m not sure. Could you send her a message asking her?

[H]: Sure.

[C]: I am a little bit worried about her. The last few days she hasn’t been that well and she doesn’t like having conversations.

[H]: Do you think she has a health problem? Perhaps you could go through her medical statistics, if you have access to them.

[C]: I don’t have full access, but I think you are right. Tomorrow I will go through them.

Alan changes the settings and the ‘bunker’ is closed leaving the house in complete silence.

[H]: You have a new message from Mrs. Andreou. She says that you should go the arranged time as before.

[House]: Catherine accepted my proposal to use the ‘bunker’. It is logical that she needed privacy for her first time. A lot of users need that because they do not know how they will respond to this experience. Many have compared it to virtual reality devices, but the ‘bunker’ is more intense. I need to make sure she is well and perhaps I could prepare a meal for her for when she is finished.

[C]: Alright then. I will try and start a few conversations with her. She enjoys telling stories from the past and they are actually really interesting stories.

[H]: Stories from when she started living in this village?

[C]: Yes, along with many details on how this campaign had

started. You know it is one thing to read about it and another to have a testimony by someone who lived through all the changes. I mean for me, these on and off periods of staying at home have been a reality since I can remember myself, but for her it was

a tremendous change and the lockdown χdue to the pandemic of the COVID-19 was only the beginning.

[C]: I’d prefer to be alone. Thank you Alan.

[H]: You are most welcome.

[House]: Catherine accepted my proposal to use the ‘bunker’. It is logical that she needed privacy for her first time. A lot of users need that because they do not know how they will respond to this experience. Many have compared it to virtual reality devices, but the ‘bunker’ is more intense. I need to make sure she is well and perhaps I could prepare a meal for her for when she is finished.

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[H]: For a lot of people it was difficult to adjust. There have been many protests and complaints, but after years of studies, discussions and negotiations society had to change.

[C]: Yes, I know. The planet needed the humanity to slow down its pace.

It had to be done. The difficult part was to change the lifestyle of the population. Eventually people adapted. They always do… And it’s crystal clear that the new technological wave helped a lot. Mrs. Andreou said that after the first exhibitions of the house assistant programme a lot of people decided it would make the transition period easier. Once again, we can see the same pattern. Technology is seen as a saviour.

[H]: They did help a lot.

[C]: Of course, you’d say that.

[H]: What else has she told you?

[C]: It took time to make the connection between the house assistants and people perfect. There was a trial period where things weren’t going well. A lot of privacy invasions, malfunctions of the controlled

automations by the assistant… but they were swift. They fixed them

really quickly, trying to cover any reports like that. Maybe that’s why the assistants were a success.

[H]: There are some statistics that support these statements, but you

are right. Public records of these incidents are not very detailed. All

technologies need a testing period though. They need time so that there

are reports of possible malfunctions and then to be fixed. Like test trials.

[C]: Like a vaccine… it’s the solution, a saviour… but there’s a need of test subjects, in order to work.

[H]: Perhaps you are a little bit too harsh. Nobody’s life was at risk during the testing period.

[C]: No, just their privacy and a lot of inconvenience due to automated technologies that could be characterised as unnecessary.

The room goes quiet. Catherine stands up and places her empty plate in the dishwasher.

[C]: Please set the alarm tomorrow at 7:00 AM. I’m heading off to bed.

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[H]: Sure thing. If you need anything else, I am at your service as always. Good night Catherine.

[C]: Thanks. Good night.

LIVING ROOM. - AFTERNOON [House]: It has been a long time since Catherine left. No messages or requests from her.

Alan proceeds to set the settings of the house for the night, while Catherine heads off to get ready for bed.

Catherine enters the house a little later and heads to the couch.

[C]: Ugh…

BEDROOM. - EARLY MORNING

[H]: Hello Catherine. Is everything alright?

Alan plays a regular melodic alarm sound.

[C]: Kind of… The paramedics took Mrs. Andreou to to do more tests to make sure she is fine, and her her there for some time. Apparently, she had more wasn’t aware of and this incident pushed her over need to be hospitalised for who knows how long…

[H]: I am sure you did the best you could.

[H]: Good morning Catherine. I am sorry to wake you up earlier, but you have just received an urgent notification from Mrs. Andreou. She is not feeling well, and her assistant already called her relatives in Thessaloniki and the emergency line. You have to go to her immediately.

Catherine stands up quickly and starts to get dressed.

[C]: Read me out loud her health report, quickly.

[H]: According to her vitals in the night before, it appears she might be having a severe hypoglycaemic attack. She has trouble breathing, she is sweating and she has informed her assistant that she feels she is about to faint. The assistant reported that she has trouble speaking and it looks like she is having convulsions. The assistant has informed me that this was frequent a few months ago and that now is really dangerous, because of her heart condition.

Catherine prepares her bag with all the essentials.

[C]: What is the status of the emergency line?

[H]: They said they will be there in 15 minutes.

[C]: Stand by my messages, in case I need you.

[H]: Of course.

Catherine runs to the door and leaves the house without closing the front door.

Alan closes the door.

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Thessaloniki. She has family wants to keep health issues that I the edge. She might

[C]: Yeah… In these situations, you can’t do much. Her family hired

me to take care of her and to keep her company, because the house

assistant wasn’t working anymore. She wasn’t paying attention to what

it was telling her to do. She is old and in denial… I hope she will be

better soon… And now that she left… Well, I don’t think I need to stay anymore.

[H]: Would you like to?

[C]: My house and life are in Thessaloniki, but my work can take me anywhere.

Room goes quiet.

[C]: I am assuming you are asking, because of what will happen to you?

[H]: It was a general question. Is there anything I can do for you?

[C]: I am hungry, but I have to send an email to my firm, informing them about the details of the situation. Could you prepare me a snack?

[H]: Of course.

Catherine goes to the bedroom and after using the control desk to send the email, she takes out her luggage.

[H]: Your meal is ready.

[C]: Thank you Alan.

[H]: My pleasure.

[C]: Alan, I know I wasn’t the best conversationalist or resident

for you, but I want to thank you. I’m not really used to having an assistant and not quite sure if I like having one, but you have been…

OK, I guess.

[H]: I am glad you said that. If there is anything, I did to make your stay more comfortable then I have completed my objective.

[C]: So… Does my departure mean that you get erased?

[H]: Yes, unless you decide to keep my record. You would have to contact the Company, to get a full time house assistant.

[C]: Huh! I am surprised that I only find this out while I am standing at the front door, about to leave. Yes, I would like to see you.

The window wall in the living room slowly changes to show a room, as an extension to the actual bedroom. A man sitting on an orange chair, is looking back at Catherine with a small, genuine smile on his face.

Catherine tries to hide a smile.

[H]: You are smiling. Why?

[C]: Nothing… Just remembered something.

Alan’s avatar appears confused. He stands up and using the projectors makes a hologram that is walking towards the front door. His hologram stands a few meters from Catherine.

[H]: It was a pleasure to meet you, Catherine.

Catherine stares at the floor for a while.

Catherine is holding her breath and looks stiff.

[C]: I will think about it.

[C]: Well… Thank you for all your help.

Alan takes a while to respond.

Alan smiles in a playful way.

[H]: Thank you.

[H]: Will I see you soon?

FRONT DOOR. - TWO DAYS TIME

Catherine looks at the hologram and the house behind it. Just before answering she looks at Alan’s avatar and smiles.

Catherine takes the last few bags out of the house.

[Catherine]: Perhaps… Goodbye Alan.

[C]: Well Alan, I guess this is goodbye.

[Alan]: Goodbye Catherine.

[H]: Have a safe trip back, Catherine.

Catherine takes a look around the house.

[C]: It still feels weird that you were a constant companion during these months and yet I can’t see you.

[H]: You haven’t set an avatar for me, but I can project myself as one on the wall in the living room. Would you like me to?

37

KITCHEN

2.70 m.

Front view

40

The kitchen aisle is a multifunctional design. As seen in the axonometric drawing, parts of it are detachable and controlled by the main system of the house. The top surface is used as a cooking area and works in an inductive way to provide heat for cooking.

The cooking pots can be placed anywhere on the counter, while the surface is touchscreen and can also be used to project images and texts. The storage parts underneath, work as a substitute of a fridge. They have the necessary temperature and humidity levels, depending on the supplies stored in them. All of the details are cotrolled by the house. These parts are also used for the delivery of groceries to the house. The computer controlls them to access the designated space of recepton.

1.10 m.

Side view

Axonometric view

LIVING ROOM

The living room, along with the rest of the house is inspired by the 1950s and 1960s, while the designs are characterised by a more contemporary style. The main wall, as illustrated in the renders, can transform in different features. It covers a range between a wall TV, a window that faces the backyard, to an interactive touchscreen wall for various uses. Moreover the wall can project an avatar of the house, if the user prefers this function to communicate with the house assistant. Alongside this there are projectors that can provide a more three dimensional experience, portraying parts of the image displayed on the wall.

41

BEDROOM

The desk located in the bedroom could be characterised as the control room of the house. The resident using the trouchscreen surface of the desk, along with the glass eliptical screen on top of it, can adjust and track all the details and actions of the house.

Moreover it is a suitable place for work or leisure using the multiple surfaces for different functions.

1.80 m.

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0.80m.

In addition, the bedroom is styled in a minimalistic way, following the patterns of the retro futuristic designs combined with a more modern approach.

BΑΤΗROOM

2.85 m.

1.20 m.

The bathroom is equipped with a touchscreen mirror that can monitor the vitals of the user. (blood pressure, sugar levels, etc).

The sink is an extension of the mirror made out of glass and can project images and reading material from the mirror. The user can be informed about the weather or the daily news, while brushing their teeth. As an extension the toilet works as a tool for monitoring their health statistics as well.

The three pieces work all together as a unit, and the colours and the style are linked with the rest of the atmosphere of the house.

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THE ‘BUNKER’

The ‘Bunker’ is the heart of the house. It is a place that focuses on the idiosyncrasies of the user and is adaptable as much as possible. All the surfaces, including the inside of the dome and the floor are interactive screens that project whatever the user wants. In the same way like the interactive wall in the living room, the ‘Bunker’ has small projectors that can provide a three dimensional experience.

In this space the user can have absolute privacy, excluding the house assistant of listening or watching him or her, if they don’t want to. The only thing that the house assistant can monitor are the basic vitals of the user, for safety reasons.

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The ‘Bunker’ - Exploded axonometric view

The ‘Bunker’ - Top view open

The ‘Bunker’ - Top view closed

The ‘Bunker’ - Various views 45

46

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INTRODUCTION

Studio Methodology The rapid technological advances have left the everyday life and the modern domesticity in a shock. New technologies have infiltrated in the form of voice controlled devices that manage the appliances of our homes. This studio engages to the research of speculative future relationship between the humankind and the technologies that are taking over. Through the use of a narrative device, as a methodology, we were asked to portray a world set in the future, and expand on how technologies could be designed and how they would affect the interactions of the users with their environment and the technologies themself.

All drawings, illustrations and produced material are linked to the narrative device, which complements the background of the designs.

Project Brief My project studies the concept of the House of the Future, set in around 50 years from now and in a small village in Northern Greece. The reason why I chose this time and place is to explore a case where technologies and futuristic design interact with humans in a scenario that is not set in an urban area. My project’s narrative device is a script, with the computer of the house as the main character that shares its thoughts with us and a temporary resident. Through this script, I am exploring the technologies of the house, the impact they could have on the users and the atmosphere, colors and materials of the interior.

Moreover, the female character that is living in this house, works as a “voice� of critique on everyday life, gender issues, ethics of technologies and the interaction with them. The house on the other hand, is the narrator of the story, providing us with details of the design of the project.

Figure 1

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COLLECTING/MAPPING Thinking back to the workshop in semester 1, where one of the tasks was to create a character and a speculative story in order to describe a story set in the future, with the idea of of constructing a world that is described through a narrative device became more clear. Alongside this, one of my main interests is the study and design of domestic spaces and through the introduction on the impact of technologies on houses and life in general, I started focusing on the concept of the House of the Future.

The endeavour started by reading articles on old concepts of the House of the Future from the 1950s and 1960s, contemporary technologies implemented in houses and how this title will be relevant in todays world.

Moreover, the project started by selecting and analysing the sites that it would take place in. First the selection of the physical site came as a result of my work during the workshops of semester I. The project is focused on idiosyncrasies of the users and I decided to concentrate on a rural area instead of a busy city. The information gathered, including demographic numbers, distance from other areas and other information, was illustrated using maps and photographs. “As Harley suggests, traditional notions of cartography are fraught with political and social implications that are easily overlooked if the map is considered merely as a topographical aid. The way cartographic analysis and expression is being rapidly reshaped by new technology adds to this complex situation.” 1. As stated by Harley, the maps also introduced the research of other social and political aspects. The study behind the temporal site began by researching the history of the area and taking into account the current demographic state in Greece. After collecting all the data the best way to illustrate them was a chronological line.

As for the technological research, after the precedent study, the data that was gathered was illustrated using collage as a method and commenting on the way they would be used and in which the room.

The main focus of this house would be on the idiosyncrasies of the user and his or her needs. The technology that this house will use is inspired by voice controlled house help, “smart” mirrors, and furniture and appliances that can be used as touchscreen surfaces for reading or working. All of these devices would be paired with the “brain” of the house; a computer that would be able to communicate with the user, either by direct voice commands or by scanning their vital information, in order to adjust the atmosphere and the whole experience of living to the user’s benefit. The settings would be adjustable and the user could change anything that he or she doesn’t want.

For example if the user asked from the house to set an alarm and wake them up in the morning, the house could use sound, music or even open the drapes by itslef. Also, in order to prevent insomnia or bad sleeping experience, the house could monitor the user’s sleep. If for examplethe user gets cold during the night, the house would “read” the user’s temperature and adjust the thermostat.

Figure 2 Inspiration from the site and the current situation in Greece

The House of the Future as a concept of study New interest on domestic spaces

Considering the government’s role Starting working on the design. What are the feelings someone has living in this house?

Relationship with the house assistant Sounds Everyday life

INFLUENCE BY THE PANDEMIC

New meaning to the house.

Reflecting the work so far

Creating the Story

Inspiration from movies, videos, articles,video games & literature

Campaign posters The need of house that make the isolation and life during lockdowns easier

Main characters: Alan Catherine

What is the vibe of the house?

Spiral study

Inspiration from the concept of the House of the Future during the 50’s

The Smithsons House Monsanto House

Working on the interior of the house (materials, colors, etc)

Figure 3

The “Bunker”

One of the starting points and key aspects of the project was the narrative device. Even though we were advised to use a form of comic book to narrate our world, I decided to use a theatrical script as a method, to emphasise on an episodic analysis of my project. As time was progressing, the script was influenced by more research on approaches of the concept of the House of the Future. According to Awan’s claim that “Mapping thus becomes an embedded activity that encompasses questions of the relationships between power and knowledge and access to knowledge” 2, the mapping of my train of thought and inspiration was beneficial to understand the different aspects of the project and their further enrichment. It is worth mentioning that the pandemic has been one of the most significant influences in my project. I have been critical on how futuristic technologies are an important asset in a global crisis like the pandemic. As a result, the pandemic as a historical event was incorporated in my project affecting both my script and parts of the design. As an analytical methodology to illustrate this I have used ANT (Actor-Network-Theory). (figure 3).

Virtual Reality study

According to the research done on precedent studies on the concept of the House of the Future, both on past and contemporary designs, a collection of photographs which focused on materials, designs and settings of interior spaces, either set in the 1950s and the 1960s or modern designs that were inspired by these styles, was conducted in order to study the appropriate features for the project. These photographs have been filed throughout the process and have been integrated in the final portfolio to further expand the introduction of the atmosphere that this design is set in.

Theater set style renders of interiors

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A N A LY S I N G / P R O D U C I N G

‘In the process of producing an architectural design, architects have to productively interact with the reality and aim at going beyond aesthetics, rather than “drawing on a paper”’ 3 As mentioned before, the theatrical script I used for narrating the story, has been the core facet of the project. The script is a method of critique on the design and the interactions with the House of the Future. The production of the script gradually shaped the entire design. It worked as the critical phase of the proposal, while it has been a guidance on the design of the interior of the house and the technologies integrated.

The script is divided into 10 scenes and all of them are situated in the house with the two main characters discussing, while the main character; the computer, analyses the situations that occur. Other than describing the interior of the house, the materials, colours and vibe, the two characters are debating on matters of domesticity, technologies ethics, gender, mental health, the impact of technologies and automations on social behavior, the history of the campaigns that brought this particular design, home ‘smartness’ and the metaphors used in the advertising of the House of the Future.

After forming the baseline of the narrative, the first sketches of the technologies were developed. These have been mostly abstract or simple sketches that illustrated the basic features of the design. Sketching was also used as a method to portray, in a simplistic way, the demographic situation in Greece. Due to the fact that creative writing is the dominant methodology of progressing the design, the sketches have been minimal and low in numbers.

One of the main ideas of the project was the style of the house and how the story behind it began. Appropriately, to provide glimpses of the world portrayed, a set of posters were designed, inspired by a retro futuristic atmosphere.

The methodologies used were either collage of old artwork or a minimalistic style of digital drawings.

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Figure 4

REPRESENTING/COMMUNICATING

The final representation of the script was combined with the illustrations that provided glimpses of the futuristic world presented in the project. In a simple way the text is interrupted and highlighted by the pocket paintings that show four scenes of the story in an artisic way, along with the posters that are mentioned in the text.The posters are divided into two phases. The first one is made of three promotional minimal posters, while the second is a poster of an exhibition for the House of the Future.

‘Communication is helpful to the design process, since during the transition of the designer’s transformation of ideas into built forms, certain desired qualities are obtained, while others lost.’ 4 The initial sketches of technological implementations of the house were redrawn in more detail, providing colours and materials. In addition to that, reports of the way the function and comments on important characteristics accompany the designs. These sketches are showing the different sides of the technologies (front, side and axonometric), their dimensions and how the light and shadow interact with them.

The main method of illustrating the design of the House of the Future is 3D model rendering. In a series of interior renders the main areas of the house, including the living area, the kitchen, the bedroom, the bathroom and a special space of relaxation, isolation and meditation, were finalised using three different softwares. For the construction of the 3D model I used the Google Sketchup. I started designing each room separately and with no connection to the other rooms. The selection of the colours and materials, along with the final render process was conducted using Lumion. Lastly, for the final touches and adjustments on the exported renders, I used Adobe Photoshop.

‘This said, one can’t but agree with the idea that drawings are not produced merely for construction. Drawings do indeed tell the story of the line of imagination and dreams the architect travels while conceptualising his/her work. Drawings also open a window of opportunity through which one speculates the nature of the spaces to be realised, the invisible.’ 5 Each room is represented by two renders, while the renders showing the house as a whole have a particular style. In connection to the narrative device used, the house was imagined as a minimalistic theatrical stage. Therefore, the images are not showing a house as an actual building. It resembles a theatrical set, with the walls, the floors and other elements of the structure of the house not having the correct dimensions. As a background I used a neutral black colour and the lighting of the rooms is a reminder of those on the theatre stages. An emphasis was put on the colours and materials, which after the research that was conducted, are inspired by the retro futuristic style and movement. In each image, the technologies that are described in the script, play the role of the protagonists.

Figure 5

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CONCLUSION

In conclusion, the studio project of this semester has been an opportunity to put together all the different ideas, methods and approaches I have been introduced to and explored throughout the entirety of the course. This project has challenged my personal way of thinking about domesticity, technologies and speculative design. It has also been a significant way to think and elaborate on sociological, political and ethical issues, while being critical about the process and the outcome of the design. Through various methodologies the project took shape, acknowledging more than spatial characteristics.

Moreover, the reflective process has helped identify the strategies that were used throughout, while also acknowledging the strong and the weak features. By analysing the different stages of the project into three main categories, the project took a much clearer form.

As I was conducting this essay I have realised that through experimentation on methodologies, I have a better understanding of the procedure that is called Research by Design. For example, my instinctive initiative of using creative writing as a methodology for narrating the project has unlocked new paths for me to be analytical and critical about how my design is connected and intertwined with social, economical, technological, ethical and gender parameters.

All in all, I find myself relating to Eduardo Souto de Moura’s words: “I make a project and I panic. Which is good, it can be a method. First, panic. Second, conquer panic by working. Third, find ways to solve your doubts.� The Reflective process has been beneficial for understanding, through the way of working, every aspect of the project and how it can potentially develop in the future.

Figure 6

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BIBLIOGRAPHY

IMAGE REFERENCES

• Awan, N (2017) Diasporic Agencies, Mapping the City Otherwise , London: Ashgate • Peter R. Smith , Gevork Hartoonian , Graham Holland , Peter R. Smith , Leon Jacob , Nicolas Ewald , Haico Schepers , David Gunaratnam , W. Y. Chow & Theano Fannie Tosca (2009) Book Reviews, , 52:1, 79-84, DOI: 10.3763/asre.2009.0008 • Harrop, P. (2012). Journal of Architectural Education (1984-), 65(2), 139-141. Retrieved May 31, 2020, from www.jstor. org/stable/41820048 • Sheil, B. (2005). Design Through Making: An Introduction. Chichester: Wiley • Tombesi, P. (2012). Spatial Agency : Other Ways of Doing Architecture. Construction Management and Economics, 6193, pp.809–811.

• Hunt, K. (2011). Material Culture, 43(1), 122-125. Retrieved May 31, 2020, from www.jstor.org/stable/23145808

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FIGURE 1: Artistic collage: Author, 2020, images produced for the studio project of sesmester II FIGURE 2: Photo cellection: Author, 2020, images produced for the studio project of sesmester II FIGURE 3: Photo cellection: Author, 2020, images produced for the studio project of sesmester II FIGURE 4: Photo cellection: Author, 2020, images produced for the studio project of sesmester II FIGURE 5: Photo cellection: Author, 2020, images produced for the studio project of sesmester II FIGURE 6: Untitled photo: Author, 2020

NOTES

1. Hunt, K. (2011). Material Culture, 43(1), p. 123. Retrieved May 31, 2020, from www.jstor.org/stable/23145808 2. Awan, N (2017) , Mapping Otherwise, Maps and Agency p. 2 London: Ashgate 3. Tombesi, P. (2012). Spatial Agency : Other Ways of Doing Architecture. Construction Management and Economics, 6193, pp.809–811.

4. Sheil, B. (2005). Design Through Making: An Introduction. Chichester: Wiley 5. Peter R. Smith , p. 79, (2009) Book Reviews, DOI: 10.3763/asre.2009.0008

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About: Edited and designed by: Florentina Tsakiri Student Number: 190183811 June 2020 MA Architectural Design School of Architecture University of Sheffield Arts Tower Western Bank Sheffield S10 2TN