Beyond Representation - Linked Research - Newcastle University - Stage 6 - Architecture by Nikolas Ward

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Beyond Representation Linked Research 16/17 ARC8052 Stage 6 Visit our website at: https://rzhang22.wixsite.com/mam-ncl-lr No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews Designers/Editors: David Boyd, Joseph Dent, Nikolas Ward, Ruochen Zhang Special thanks to: STASUS (James Craig, Matt Ozga-Lawn), Newcastle University Architecture, Planning & Landscape, Mark Halpin, Katie Lloyd-Thomas, Polly Gould, Culture Lab, Ko-Le Chen, Karen Ritchie.

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Contributors David Boyd Joseph Dent Nikolas Ward Ruochen Zhang

Tutors James Craig Matt Ozga-Lawn

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10 Introduction 12 46 Atmosphere of Space RZ 90 Bridging the Gap NW

Project Log

132 A Claim for Embodiment DB

275

232 Approaching Chora JD 276 Reflective Conclusions

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Introduction Our project, â&#x20AC;&#x2DC;Beyond Representationâ&#x20AC;&#x2122;, has been our attempt to explore the relationship between representation and architectural thinking, and in extension to this, the role representation plays with our understanding of spatial conditions. The following pages are a collection of outputs that were generated during this research and production period. These volumes can be read as an attempt to compress our outputs into a sequence of images and texts that both document and reflect upon the work produced by the group over the course of the last twelve months. As the project, and in turn the book, is comprised of both individual and group work, the book also attempts to curate and organise the outputs within a chronological structure, merging the collaborative and solo work into a fully realised whole. The collaborative nature of the project demanded close and constant communication between all four group members, a fact evidenced most during times when we were responsible for the of organisation of two separate exhibitions. As a result, the large and often varied tasks are documented within this book in the form of a series of log entries, each written by the most appropriate group member. The the form of a log book is not only our attempt to archive the tasks and responsibilities of the project in an organised manner, it is also a self enclosed narrative, attempting to represent the development of our thinking as a whole.

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Interspersed throughout the log entries are individual essays, one by each group member, that are intended to act as a space in which a particular subject or theme that has arisen within the project can be discussed at greater length. The location of these essays within the book were chosen in reference to the most appropriate junction within the log entry narrative, attempting to create an overarching theoretical backdrop for the images and supporting writing to be interrogated against. Again, the decision to integrate the individual work within the group volume is our attempt to experiment with modes of representation, merging the often separated realms of design practice and theoretical thinking. Throughout this volume, a large variety of images are also included, intended to work in tandem with the text; allowing the reader to visualise and scrutinise the tasks, forms and outputs that are alluded to within the written work. The intention of this is to resist putting emphasis upon the image only, but instead to attempt to form a balanced representation mode which raises the capacity of each mode of representation to be raised by the presence of the other. The book concludes with four personal reflections, each written by a separate group member, that aim to summate their experience within the context of this project. DB

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STASUS (James A. Craig & Matt Ozga-Lawn) are looking for 2-3 students to work with us on two design research projects over the course of 2016. The projects concern our ongoing research interests in architectural representation (and both are held by the ‘Beyond Representation’ ARC framework). Specifically, we are interested in our embodied relationship to design work, and the way different media affect this relationship. This has been a core thematic of our ongoing Stage 6 studio ‘Landscapes of Human Endeavour’, which asks students to use an ‘endeavourer’ as a way into exploring and framing ideas of space, scale and representation. The two projects we are undertaking in 2016 are either in progress or planning stages, and develop from these themes. 1. EVEREST DEATH ZONE (January 2016 - March 2016) Everest Death Zone is a project published in 2014 in the design research journal P.E.A.R. (Paper for Emerging Architectural Research). The project consists of four drawings (including the one above) and a short text. We are looking to extend the drawing(s) into a physical installation. The installation will likely include performative and atmospheric experimentation and will be installed at the ‘Mountains & Megastructures’ symposium (March 16-17 at APL). Students will work with us on designing, fabricating and installing the project. 2. MIXED/MEDIATED REALITIES (March 2016 - January 2017) The larger and less developed project is a study of new virtual reality technologies and their relationship to architectural representation. We are aiming to undertake this study by using Walter Pichler, an Austrian avant garde artist active in the 60s, as a subject for study. Pichler’s incredible and provocative projects such as Portable Living Room (pictured above) and Intensivbox satirise new media obsessions, and seem to prefigure virtual reality headsets such as the Oculus Rift (Facebook), the Hololens (Microsoft) and other emerging virtual and augmented reality experiences. The project aims to generate a virtual environment based around Pichler’s farm in western Austria as a model for exploring both Pichler’s ideas and his interest in the bodily relationship to representation. We will create a mixed or mediated reality that merges architectural representation into real spaces, and vice versa, as an experiment to understand the potential of the technology. NB: this will include a large degree of computer design, and although tutorials and other sessions will be provided for this, 3D-modelling literacy is desirable

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/01. Beyond Representation - Linked Research Introduction Alongside 10 other options, Matt Ozga-Lawn gave a short presentation laying out the premise for ‘Beyond Representation’ - illustrating the areas where STASUS were interested in investigating; namely in the forms of an installation and virtual reality (VR). Students would be designing an installation for a project they had previously been working on ‘Everest Death Zone’ (EDZ), and were invited to pursue their own interests in the VR project, with the work of the Austrian artist Walter Pichler given as a possible starting point. Information was given regarding reports completed by previous years and the recent work completed by STASUS.

“7. Everest Death Camp and Mixed Reality (Matt Ozga-Lawn/ James Craig: 2-3 students)”

Linked Research options: 1. Learning Space Linked Research (Matthew Margetts) 2. Research in the City: Newcastle After Dark (Ed Wainwright / Sam Austin: 5-8 students) 3. Zanzibar (Prue Chiles: 2-3 students) 4. Bacteria Spore Actuators (Martyn Dade-Robertson: 1-2 students) 5. Live Build: Grandstand and Osprey Hide (Graham Farmer: 6-10 students) 6. International Brutalisms (Steve Parnell) 7. Everest Death Camp and Mixed Reality (Matt Ozga-Lawn / James Craig: 2-3 students) 8. Befriend and Build (Sam Clark: 2 students) 9. Architecture by Default (Kieran Connolly: 2-4 students) 10. The Empty Pool (Katie Lloyd Thomas / Rona Lee) 11. Building Adaptability John Kamara NW

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1. Mallory

2. Arsentiev

MALLORY

ARSEnTiEV

“i’M RATHER inCLinED TO THinK PERSOnALLY THAT MAYBE iT iS QuiTE iMPORTAnT, THE GETTinG DOWn…”

“i’M An AMERiCAn. i’M An AMERiCAn.”

3. Sharp

4. Schmatz SCHMATZ

SHARP

“HER BODY WAS FROZEn in A SiTTinG POSiTiOn, LEAninG AGAinST HER PACK

“YOuR RESPOnSiBiLiTY iS TO SAVE YOuRSELF – nOT TO TRY TO SAVE AnYBODY ELSE.”

WiTH HER EYES OPEn AnD HER HAiR BLOWinG in THE WinD.”

We would hope to build on this collaboration and move forward with generating a series of spatial interpretations and events generated through the original four drawings (above) for further exhibitions in the future. Our architectural platform Stasus, founded in 2009 by James Craig (Visiting Fellow, Newcastle University) and Matt Ozga-Lawn (Lecturer in Architecture, Newcastle University) works with modes of architectural representation and its limits. We have included an edited selection of work below.

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/02. STASUS Drawing Discussion and Initial Response As a group we talked to Matt Ozga-Lawn and James Craig about STASUS’ research on the EDZ, and discussed how their research had informed the drawings they had produced, to get an idea of how these ideas could be conveyed in an installation. The drawings are titled ‘Mallory’, ‘Arsentiev’, ‘Sharp’ and ‘Schmatz’, each named after and representing an explorer who lost their life within the EDZ. Matt and James were particularly interested in representing the ‘space of death’, conveying themes including the mountains topography, the personal items left behind by each explorer, and the discovery of their preserved bodies years later. We also discussed the idea of re-enactment, and how larger scale installations can lead to the experience of inhabiting and participating, as opposed to merely ‘viewing’, as is traditionally the case with painting of sculpture. As a group, we were interested in how a large scale installation could begin to bridge the gap between architecture and architectural representation, and the possibilities and opportunities working at this scale would introduce. (Reflections are made about this in both NW’s essay ‘Bridging the Gap’ and JD’s essay ‘Approaching Chora’). After our meeting with Matt and James, the four of us discussed our own responses to the drawings, and what we wanted to take forward from them. We settled on focussing our installation on just one of the drawings, ‘Mallory’. George Mallory was a notable English mountaineer who took disappeared in the EDZ alongside his

1. Pico mini projector showing clips from ‘The Epic of Everest’ 2. Habitable section of the vessel with viewing hole towards film 3. Vessel tensioned back to walls 4. North side to be used for showing 4x original drawings from the Everest Death Zone project (as seen on page 2 of this document). ARSEnTiEV

2. “i’M An AMERiCAn. i’M An AMERiCAn.”

1. MALLORY

3. “i’M RATHER inCLinED TO THinK PERSOnALLY THAT MAYBE iT iS QuiTE iMPORTAnT, THE GETTinG DOWn…”

16 2.

1. Pico mini projector showing clips from ‘The Epic of Everest’ 2. Habitable section of the vessel with viewing hole towards film

SHARP “YOuR RESPOnSiBiLiTY iS TO SAVE YOuRSELF – nOT TO TRY TO SAVE AnYBODY ELSE.”

1. 4x original drawings from the Everest Death Zone project (as seen on page 2 of this document).

SCHMATZ WiTH HER EYES OPEn AnD HER HAiR BLOWinG in THE WinD.”

“HER BODY WAS FROZEn in A SiTTinG POSiTiOn, LEAninG AGAinST HER PACK

Section AA

Section BB

Installation - proposed plan

[Academic use only]

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Installation - proposed sections

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“Mallory’s body was not recovered for 75 years ... His body was partially preserved by the freezing conditions of the mountain, and various objects believed to be owned by him have been found nearby. Along with Irvine, Mallory was last seen 245m from the summit, and whether the pair ever reached it, remains unknown.”

climbing partner Andrew Irvine in the 1924 British Mount Everest Expedition. Mallory’s body was not recovered for 75 years, when an expedition found his remains in 1999. His body was partially preserved by the freezing conditions of the mountain, and various objects believed to be owned by him have been found nearby. Along with Irvine, Mallory was last seen 245m from the summit, and whether the pair ever reached it, remains unknown. STASUS had used processes of mapping and layering within their drawing, to create a narrative open to interpretation from the viewer. Visual clues are laid out in the drawing, presenting the viewer with facts as well as questions over the explorers’ fate. As a group, we were especially intrigued by the enigmatic black object in the centre of the drawing, which creates a strong focal point. Aside from this black object, and the dizzying topography of the mountain which covers most of the drawing, we were interested in the depiction of the summit of Everest set apart from the black object, as there is so much mystery surrounding whether Mallory ever reached it or not. JD /03.Previous Exhibitions - Past linked research We were provided with the work of previous students’ research conducted alongside STASUS around the EDZ project. This was a helpful reference for us, and extracts from it are included opposite and adjacent. RZ /04. Introduction to Mountains and Megastructures Exhibition

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The installation we were to create on the EDZ was to be part of the ‘Mountains and Megastructures’ symposium, a two day event featuring an eclectic range of research surrounding the title subjects, from a variety of contributors from Newcastle University and beyond. For our installation, which was to be in its own room within the gallery, we wanted to explore the idea of immersive environments as a form of architectural representation, in this case through creating a physical environment within the confined space. As well as the design and building of our installation, we were also to be involved in the composition and setting up of the symposium as a whole. JD /05. Representing Mallory into the Gallery In creating our own installation using the Mallory story and subsequent drawing, one of the main challenges was how to translate the themes and focusses of a two dimensional drawing into a three dimensional and immersive space. An important part of this process was to thoroughly interrogate the original drawing produced by STASUS, as well as conducting our own research into Mallory’s expedition and the EDZ more widely. We felt that this was an essential step in what we wanted to achieve, as if we just took the drawing at face value, our installation would likely result in being a pale conversion of two dimensional shapes into three dimensions. Having said this, the work and design responses made by the drawing were still vitally important tools in producing our installation. Significant discoveries that

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came from our wider research included photographs of Mallory’s body - found around 70 years after his death, images and mapping of his possessions found on the mountain, and a film entitled ‘The Epic of Everest’, which recorded his ascent. The film contained stunning and detailed footage of Mallory and his expedition crew up close, but also fascinating and ground-breaking longdistance footage filmed from around 2km away. Viewing the ascent at two different scales became an interesting idea for us, and lead to us wanting to achieve a visual tension between these two scales in the installation, so the viewer felt both close to Mallory himself and within the expedition party, as well as a distant and detached observer, watching from afar. By creating this tension, we hoped to provide a sense of ambiguity within the narrative, to reflect the uncertainty over whether Mallory reached the summit or not. We decided to create this tension by designing a 3 dimensional object that would be in the middle of the room, deriving from the enigmatic black shape within the drawing - which evolved as a mapping of Mallory’s possessions scattered on the mountainside, therefore having a strong sense of the mountains dramatic topography in its appearance. We intended the object to be around two metres in length, to make it roughly the size of a human body. This would subsequently result in a dual reading of the object, one of it representing EDZ’s topography, and the other representing Mallory’s frozen body, the distant and close respectively. JD /06. The Epic of Everest

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To familiarise ourselves with the story of George Mallory, we had watched the film, ‘The Epic of Everest’. The film is composed of original footage taken by a film crew who documented the climb in 1924. It was later restored by the BFI in its original form with the addition of a new soundtrack. From watching the film, we hoped to extract relevant themes, imagery and narratives to help us formulate a greater understanding of Mallory’s journey, and generate a visceral response from ourselves. Each group member watched the film separately, hoping to encourage individual interpretations of the film. Following this, we met together and discussed what had caught our attention, in regards to the creation of the installation. Alongside our previously expressed interest in the use of multiple scales, there were numerous other observations that informed the project going forward. DB /07. Interpretation of Themes from the Epic of Everest On meeting to discuss the Epic of Everest, our main aims were to discuss the film in general, and then move toward the interpretation of appropriate themes into our installation design. The film was fascinating as a standalone piece of art, and integral to the development of our research and design response. Some of the themes which were discussed included: time, isolation, the oxygen tanks used by the explorers, filming, camera equipment, music and sounds, beauty, absence/ presence, scale of the endeavour, the body of Mallory, death, ambiguity, cold and the human senses. One of the most interesting discussions we had

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was regarding the circular cropping of specific frames throughout the film. This provided a realistic binocular style view to capture an extremely long distance video recording (around 2km), something not common in filming at that time and ground-breaking in it ingenuity. We were interested in how this was not only an extremely clever filming technique, but also the effect its use had within the film. It helped highlight specific shots, focussing the viewer on them and encouraging to search the long distance shot carefully with their eye, to try and decipher whether they could see the pair of explorers - creating a sense of ambiguity and uncertainty. The circular shape of the shot is a closer representation to how the human eyes sees, and so helps to brings the observer â&#x20AC;&#x2DC;inâ&#x20AC;&#x2122; to the image, creating a greater connection and intensity between film and viewer. We considered the possibility of using this framing technique or possibly the original shots themselves within the installation. Another theme that we discussed in detail was the sound in the film. Although the video footage itself has no sound, but there was a memorising soundtrack of eerie chimes playing throughout, which came in waves and was choreographed beautifully with the progression and narrative of the film, which we felt furthered the grandiose expedition being displayed. We recognised that sound would be a key part of creating something that was beyond an installation - but instead an immersive environment. As well as these key topics, we exchanged ideas about how other elements of the film could influence or play a part in the exhibition. We all expressed a desire to feature actual

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â&#x20AC;&#x153;The film was fascinating as a standalone piece of art, and integral to the development of our research and design response. Some of the themes which were discussed included: time, isolation, the oxygen tanks used by the explorers, filming, camera equipment, music and sounds, beauty, absence/presence, scale of the endeavour, the body of Mallory, death, ambiguity, cold and the human senses. One of the most interesting discussions we had was regarding the circular cropping of specific frames throughout the film. This provided a realistic binocular style view to capture an extremely long distance video recording (around 2km), something not common in filming at that time and ground-breaking in it ingenuity. We were interested in how this 26

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was not only an extremely clever filming technique, but also the effect its use had within the film. It helped highlight specific shots, focussing the viewer on them and encouraging to search the long distance shot carefully with their eye, to try and decipher whether they could see the pair of explorers - creating a sense of ambiguity and uncertainty. The circular shape of the shot is a closer representation to how the human eyes sees, and so helps to brings the observer ‘in’ to the image, creating a greater connection and intensity between film and viewer. We considered the possibility of using this framing technique or possibly the original shots themselves within the installation.” 27

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sounds and footage from the film, given its strength and relevance, in the hope that it would have a similar impact on those attending the exhibition, as it had on ourselves. NW /08. Virtual Modelling Using SketchUp, RZ set up a quick 3D SketchUp model of the proposed model in the space, to give an idea of how it would occupy the room in the gallery. This allowed us to quickly experiment with the size, angle and elevation of the object, setting up scenes to view in both axonometric and perspective. This was a helpful process for us before progressing into more detailed modelling. RZ /09. Physical Models In response to our interpretations of the film and source drawings, we each began to create models prototyping the different geometric forms which we felt expressed certain key aspects of the narrative. We firstly used paper to quickly experiment with sharp, angular, folding shapes. From this, we generated a number of complex forms, discussing them and iterating upon them as we went. These were then placed into a 1:50 scale model of the installation space, to help us understand how users would experience the object at a 1:1 scale. We discussed which aspects of the forms we felt worked and did not work for each model, and began to narrow down on a more precise idea of the shape of the form we wanted to create. We then modelled a few further ideas more collaboratively, to start to

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move toward one form that we were all happy with at this scale. From this process, we were also able to experiment with lighting conditions, lighting directions and the possibility of projecting within the space. From observing these tests first hand as well as recording them with photographs, this process became a useful tool for our discussions regarding the visual aspect of the exhibition. DB /10. Model Development - Material Study Models Once we had settled on a clear idea of the form we wanted to create to occupy the space of the exhibition we set out to develop some more detailed models it. This was mainly to test the proposed structure and materials of the form, but also to test whether we could project upon it, and to gain a measure of the possible effects that employing this method could create. Using chicken wire enabled us to quickly and efficiently create the shapes deriving from the paper models. The structure of the wire was excellent for forming intricate angles and densities, and led us toward considering some form of metal structure when building the installation at 1:1. The fabric was the next element which we wanted to test. After purchasing various different samples of fabric from Grainger Market, we began stretching and contorting it over the wire, covering large parts of the model, but also leaving some parts open to be seen into. We felt that by doing this, for reading of the object as mountain, the observer could read both the overall form and texture of the snowy landscape in the areas covered by the fabric, as

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well as view the intricate topography recorded by the wire where the structure had been left uncovered. For the reading of the object as body however, the fabric starts to suggest skin stretched over the long dead corpse of Mallory, with exposed areas perhaps hinting at its gradual decay. It was helpful to begin setting up a series of parameters that we were to maintain when building the 1:1 scale model. We found that the fabrics chosen for this test were too inelastic and we struggled to stretch them to achieve the really taught and strained effect that we felt would be optimal for the final mode. This was an important consideration for us when we came to purchasing the fabric for the actual installation, which we knew would need to undergo a degree of testing, to ensure that it could be use to create the desired effect. NW /11. Model Development Photographing From recording the development of our models through photography, we were able to record and compare different positioning of the models and lighting, to help inform decisions on where both components would be situated for the final exhibition. The photos taken of even the early models were already beginning to show the potential beauty and atmosphere the installation could possess. It was important to keep recording our processes through photography and film, both as part of our design process, but also to present as part of our final document. JD

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/12. Projection onto Study Models, Using the Epic of Everest As we developed the shape of the central object in our installation, we explored how we might use the film as part of the environment we were creating. The films use of multiple scales and the ambiguity that it presented regarding whether Mallory reached the summit or not were of particular interest. We considered projecting parts of an edited version of the film on to the central object, so that the objects complex geometry would distort the films amazing clear imagery, this would give a sense of ambiguity and interpretation to the events you were watching, as you would never be able to see the full picture on the uneven surface. As a reference for our ambition to project the film onto the object, we looked at the work of Penelope Haralambidou and her project ‘Déjà vu: Re-staging Resnais’s Last Year at Marienbad’, which uses projection on to a variety of different surfaces to interpret the physical and psychological spaces of the film ‘Last Year at Marienbad’. This was a particularly interesting reference for us as it interprets space seen two dimensionally into a three dimensional installation, which was closely in line with our intentions. We were able to test the possibility of using a similar method in our installation by projecting an unedited clip of The Epic of Everest film on to our fabric test model, using a standard projector. The effects given by the projection onto the model were beautiful and intriguing, especially in the way that they furthered the ambiguity of the expeditions narrative.

â&#x20AC;&#x153;...seemingly morphs into a object that could represent a crumpled tent, a piece of equipment, or the body of Mallory himself.â&#x20AC;?

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This was down to the distortion of the original footage caused by the uneven and undulating surface of the fabric, which also casts a shadow on the wall behind, creating a reference to the black image in STASUSâ&#x20AC;&#x2122; drawing. The splitting of the film between wall and model creates a dis-juncture, and conveys a sense of multiple different narratives and conclusions that can be taken from one record of a story. The moments in which the topography of the mountain is projected on to the surface of the fabric reinforces the reading of the object as the mountain itself, whereas when a close-up shot of the climber or their equipment is featured, it seemingly morphs into a object that could represent a crumpled tent, an piece of equipment, or the body of Mallory himself. We all felt that the method of projecting on to the model was highly successful, by not only suggesting multiple scales within the work, but also conveying a sense of a progressive narrative and choreography to the installation. JD /13. Film Editing Following our successful testing of projection of the Epic of Everest film upon an iteration of our model, we decided that we wanted to use the film as a key part of our installation. We agreed that it was important to edit the film to fit with the effects we wanted to achieve and the narrative we wished to convey. DB compiled and archived all separate shots from the film, allowing the group to select and re-arrange any relevant imagery for project. We then set about choosing which parts of the footage we wanted to use and how. All of the group expressed

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Atmosphere of Space - RZ During the two exhibitions we held for our project, an interesting phenomenon took my notice; that people tended to experience different feelings in viewing the sculpture we made. The first exhibition was in the gallery in architecture building, with a simulated environment; while the second exhibition was in the bridge tower - which is naturally cold, noisy, and dark. From my perspective, the changing environments could explain such a phenomenon, a people tended to experience a different sense of place, which in return lead to the different feedback on the sculpture. The spatial qualities and external factors of the environment (light, sound, temperature, time) lead to various associations with a place. While the quality of a space or place is not merely a visual perceptual quality as it is usually assumed, the judgement of environmental character is a complex multi-sensory fusion of countless factors which are immediately and synthetically seized as an overall atmosphere, feeling, or mood. Peter Zumthor once acknowledged the importance of the atmospheres of architectural space: ‘I enter a building, see a room, and – in the fraction of a second – have this feeling about it’. The visionary American philosopher John Dewey already grasped the immediate, embodied, emotive, and subconscious essence of experience eight decades ago, and clearly states the nature of this existential encounter:

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the desired to use the shots with circular cropping, based on the reasoning explained earlier that drew us to them in the first place. As well as these, we also selected key footage of the climbers gradual ascent to generate a narrative of their expedition and a sense of journey. General shots of the mountain recorded from a distance were also chosen frequently, which we felt “The total overwhelming impression comes first, not only captured the perhaps in a seizure by a sudden glory of the landscape, or by changeable weather and the effect upon us of entrance into a cathedral when dim light, climate of the mountain incense, stained glass and majestic proportions fuse in one range, but also its unique indistinguishable whole. We say with truth that a painting strikes and almost ‘otherworldly’ us. There is an impact that precedes all definite recognition of atmosphere. From these what it is about.” clips, DB was quickly able to edit a series of draft sequences which In the very essence, this experience is multi-sensory. In tested different speeds, Tony Hiss’ book the experience of place, he uses the idea of scales and colouring of ‘simultaneous perception – the system we use to experience the visuals. We tested the our surroundings’. This is, however, also the way we normally success of these clips by observe, with all senses at once. As in Merleau Ponty’s statement: projecting them straight “My perception is […] not a sum of visual, tactile, on to the model, raising and audible given. I perceive in a total way with my whole being: discussions of which clips should be taken forward. I grasp a unique structure of the thing, a unique way of being, DB which speaks to all my senses at once’.

Juhani Pallasmaa adds: “An atmospheric consciousness also includes judgements beyond the five Aristotelian senses, such as sensations of orientation, gravity, balance, stability, motion, duration, continuity, scale and illumination. Indeed, the immediate judgement of the character of space calls for our entire embodied and existential sense, and it is sensed in an unconscious

/14. Final scale model

After producing numerous iterations of the object that was to be at the centre of our installation, both individually and as a group, it was important to arrive at one final scale model, that would be used as the reference to construct the 1:1 model for the exhibition. We made this final model at 1:10, to move closer towards the final scale. Rather than chicken wire, that was perfect to create a rough

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and diffuse manner instead of the conscious and observation.” The time dimension is also included in this complex assessment as duration is implied in the experience and perception, memory and imagination are fused in as well. Moreover, each space and place is always an invitation to and suggestion of distinct acts: spaces and true architectural experiences are verbs. In addition to environmental atmospheres, there are also interpersonal atmospheres such as cultural, social, work place, family, etc. The atmosphere of a social situation can be supportive or depressing, releasing or boring, inspiring or insipid. We can even speak of specific atmospheres in the scale of cultural, regional or national entities. Indeed, we can speak of the atmosphere of a place giving the unique sensorial character and identity to the place. Dewey explains this unifying character as a specific quality: “An experience has a unity that gives it its name, that meal, that storm, that rapture of friendship. The existence of this unity is constituted by a single quality that pervades the entire experience in spite of the variation of its constituent parts. This unity is neither emotional, practical, nor intellectual, for these terms name distinctions that reflection can make within it.” This experiential quality is re-emphasised by philosopher in another context: ‘The quality of the whole permeates, affects, and controls every detail’. Martin Heidegger links space indivisibly with the condition of human:

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shape, we used a single piece of wire which was bent into shape by hand. This was a more appropriate way of constructing this model, as it enabled us to be much more precise in declaring how the structure of the object would work. The shape that we settled on came after a significant amount of testing, and featured sharp, “When we speak of man and space, it sounds as angular geometry, to though man stood on one side, space on the other. Yet space is not create a complex surface, something that faces man. It is neither an external object nor an which begins to convey inner experience. It is not that there are men, and over and above the ambiguity and multiple them space. As we enter a space, the space enters us, and the layers of narrative present experience is essentially an exchange and fusion of the object and in the object. References the subject.” to Everest’s topography, expedition routes and the steel and canvas climbing American literary scholar Robert Pogue Harrison made a poetical equipment of Mallory’s statement: time are evident in the final “In the fusion of place and soul, the soul is as much model. of a container of place as place is a container of soul, both are JD

susceptible to the same forces of destruction’.

Atmosphere is similarly an exchange between material or existent properties of the place and the immaterial realm of human sensation and imagination. Yet, they are not physical ‘things’ or facts, as they are human experiential ‘creations’.

/15. Computer Modelling of Installation

Following the hand-built physical model, the design was translated into a digital model in SketchUp Paradoxically, we seize the atmosphere before we identify or and Rhino. By considering understand it intellectually. In fact, we may completely not the properties of the be able to tell meaningful words about the characters of one sculptural physical model, situation, but could have an emotional attitude, strong image and Rhino was best suited to geometrically illustrating recall of the situation. In the same way, when we enter into a the organic curves of new city, although we do not analyse or understand the countless the form. The skeletal metal form provided the structural frame necessary to design and build the fabric skin - much like the process of constructing the physical model. Modelling using computer programs allowed us to quickly imagine the form

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material, geometry and the properties consciously, we seize the overall character of it. The processes which grow from an initial but temporary grasp of the whole towards details is extended all the way by Dewey to the processes of thinking: “All thought in every subject begins with just such an unanalysed whole. When the subject matter is reasonably familiar, relevant distinctions speedily offer themselves, and sheer qualitativeness may not remain long enough to be readily recalled.” This is an intuitional and emotional capacity which seems to be derived biologically and determined unconsciously and instinctively through evolutionary programming. “We perceive atmospheres through our emotional sensibility – a form of perception that works incredibly quickly, and which we humans evidently need to help us survive.” Peter Zumthor Even though atmosphere seems to be an overarching factor of our living spaces and environments, the potential of this quality has not been observed fully and analysed of theorised in planning or architecture. Currently Professor Gernot Bohme along with Herman Schmitz are the thinkers in the philosophy of atmospheres. Meanwhile, an emissary: the divided brain and the making of the western world by Iain Mcgilchrist values the meaning of atmosphere significantly.

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at different sizes within the space, an exercise that would not have been as efficient to do physically. RZ /16. Installation Construction - Material Specification As a group, we discussed possible materials for the final Bibliography: installation. From the scale T. Hiss, The experience of place, New York, Random House, models produced, we were 1991. able to isolate a material M. Merleau-Ponty, The film and the new psychology, in Id., palette of a metalwork Sense and non-sense, Evanston, Northwestern University Press, frame, a slightly sheer 1964. and stretchy fabric, and I. McGilchrist, The master and his emissary: the divided brain climbing equipment including ropes and and the making of the Western world, New Haven - London, Yale carabiners. We felt these University Press, 2009. materials helped convey E.O. Wilson, The right place, in Id., Biophilia, Cambridge, the themes and ideas that Harvard University Press, 1984. are present in the narrative. M. Heidegger, Building, dwelling, thinking, in Id., Basic writings, The metalwork and fabric New York, Harper & Row, 1997. had been determined by R. Pogue Harrison, Gardens: an essay on the human condition, our model tests of the Chicago - London, The University of Chicago Press, 2008. installation, and this meant we gained a clear idea of P. Zumthor, Atmospheres – Architectural environments – the exact specifications Surrounding objects, Basel – Boston - Berlin, Birkhäuser, 2006. that we wanted for each. Juhani Pallasmaa, Space, place and atmosphere. Emotion and The question that posed peripheral perception in architectural experience. the most discussion for us as a group was how the structure was going to be suspended within the space. From assessing our designated room within the gallery, we determined that the suspended ceiling in place would not be structurally sound enough to take the weight of our model, which although made out of a lightweight steel frame, was still going to be around 3 metres in length and require more support. We had muted

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Costs To Be Ordered Online Petzl 5mm Climbing Rope (£7.20 per 6 meters)

£28.80 (Qty 4)

http://www.gooutdoors.co.uk/petzl-5mm-cord-6-metres-p337076

Petzl 4mm Climbing Rope (£7.20 per 7 meters)

£28.80 (Qty 4)

http://www.gooutdoors.co.uk/petzl-4mm-cord-7-metres-p337155

Petzl 6mm Climbing Rope (£8.10 per 5.5 meters)

£16.20 (Qty 2)

http://www.gooutdoors.co.uk/petzl-6mm-cord-5-5-metres-p336421

Maillon Rapide 8mm (£3.80 per item)

£76 (Qty 20)

http://www.amazon.co.uk/Maillon-Rapide-8mm-Standard/dp/B00303V1IY/re f=sr_1_2?s=sports&ie=UTF8&qid=1457359750&sr=1-2&keywords=maillon

Portable AC Unit + RCD Power Breaker (£111.26 per week)

£111.26 (Qty 1)

http://www.speedyservices.com/20_0038-h-evaporativecooler-medium http://www.speedyservices.com/16_0050-h-rcd-powerbreaker-240v

2 x 25mm Pulley Block (£6.44 per item)

£25.76 (Qty 4)

http://www.amazon.co.uk/gp/product/B01BCJTM06?psc=1&redirect=true &ref_=ox_sc_act_title_1&smid=A352OWR58JGR89

Stainless Steel 6mm Eye Plate (£1.65 per item)

£16.50 (Qty 10)

http://www.amazon.co.uk/gp/product/B004TL04IY?psc=1&redirect=true &ref_=ox_sc_act_title_1&smid=A1SD0N97NK5PS9

To Be Bought In Person Installation Fabric (£10 per meter)

£200 (Qty - 25m)

Blackout Fabric (£5 per meter)

£330 (Qty - 66m)

Metal Rods

£18

Projectors

Free from University TOTAL

£851.32

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earlier on in the project about using modern day climbing ropes and fixings to enable us to suspend the model, although we had some reservations whether this would be too literal in our translation of the Mallory expedition. However, as we had developed the project and the themes and mapping from the original research and drawings had been abstracted further, we felt that the use of climbing equipment would actually be an important reference to use, to draw the viewer quickly into the multiple and complex narratives held within the installation. The climbing equipment was also perfect for the suspension of the installation, as it is designed to be extremely strong, as well as quick and easy to set up and adapt. We hoped that because of this, we could test out different arrangements of the rope and make quick adjustments if we felt them necessary. When we came to the second exhibition in a completely different and more challenging space, the use of this flexible and adaptable system was perfect to use in a completely different arrangement and using some different techniques. In addition to the materials chosen for the construction of the installation, the projection of imagery onto the object became a bigger part of the installation than initially thought, and had to be considered equally. The technology equipment that would be required to run two projections in the space was not too substantial, but had to be reserved and tested, to ensure that everything would work as we wanted it to. DB /17. Budgeting and Material Acquisition

DB compiled and priced

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materials for the installation. The exact budget was initially unclear, so a draft cost list was created to work off. We planned to purchase metal elements for the construction of the frame directly from the University art workshop, who have an array of metalwork facilities, whilst the fabric we hoped to source locally. Climbing equipment and wall fixings are all easily ordered from mountaineering shops or amazon.com, however, there are lots of low quality keyring carabiners available on the market, so we were careful to avoid those. Due to all the materials we needed being easy to acquire from a number of different retailers, achieving the desired budget was not too difficult as lots of choice was available. We submitted a draft cost plan and awaited confirmation on final budget for installation. DB /18. Ordering and Acquiring Materials The University has a strict system when buying materials and spending money within the linked research project - as was to be expected. A detailed cost material order sheet was necessary to show what materials were needed and from where they were to be purchased. These were passed on to the research accounts team to acquire. This worked well for the ropes, pulleys, and other smaller items. When purchasing the fabric, both for the model and for blacking-out the room, some of the group went to a local material factory (First Fabrics, Benton). This was an initial fact finding mission, to acquire small samples to test and finalise as a whole group and with Matt Ozga-Lawn and James Craig. When returning to buy the rolls, we had to set up a complex over the phone payment system due

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to the large cost. The metal for the structure of the exhibition was acquired directly from the metal workshop. The final consideration was the hiring of a mobile air conditioning unit. Matt Ozga-Lawn set this in motion, and it was delivered for the week. NW /19. Construction of the Model Frame The welding of the metal structure was the key process of our construction. The Fine Art department in the University has a dedicated metal workshop which we were fortunate enough to take advantage of. In an initial meeting with Steve (the Metal Workshop Technician), we stated our ambitions and checked the feasibility of the task at hand. We concluded from this short meeting that it would be plausible, and that a 1:10 scale wire model and a 1:1 scale drawing were necessary to proceed. Inductions were completed within the workshop to learn how to use the equipment for cutting the correct lengths of 10mm circular steel rods, along with filing and preparing them to be welded. NW and JD spent a morning with Steve to be further inducted in the welding workshop - the sophisticated ventilation systems and the correct technique were vital when learning this potential dangerous activity. After a few hours of getting to grips with the equipment, and practicing the techniques, the steel rods were then welded together. A variety of different welding techniques were used depending on the join necessary. The process generally worked by one person holding the next steel rod in the correct position once comparing it to the 1:10 scale model and 1:1 paper drawn plan, and the other person spot

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welding the connection. Welding creates an extremely strong join, and ourselves and Steve were happy with the frame being put under the pressure that the suspension would create. Once the model was completed, time was taken to file the edges and to check for structural and stability issues. It was then transported from the workshop into the Architecture building gallery space, to discuss with the group. NW /20. Film Editing For the video component of the installation, we experimented with Adobe After Effects, to produce new, edited and layered footage taken from The Epic of Everest film. To achieve this, DB produced a series of six video sequences using AfterEffects, that focused on exploring the textures and colours found within the original film. These video sequences attempted to portray some our the narrative and thematic ideas, through the shifting and parallax effects applied to the video footage. The video sequences were created to be on to the central model, with the possibility of another video projection, possibly of the mountains summit, acting as a orientational device within the installation, emphasising the idea of journey, and the explorers ultimate desire to reach the summit of Everest. DB /21. Sound Experimentation The group had previously discussed how sound could be used to heighten the tangibility of the multiple narratives, as well as giving the exhibition a further atmosphere.

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We wanted to communicate the idea of slow, laboured breathing apparatus and disorientation through, to give an abstract idea of time ticking, and possibly running out. Initial discussions had led to the possibility of us using a droning sound, as it may create the desired atmosphere, however we thought it may be too close to original films sound design. Instead, DB compiled abstract noises recorded from manipulating household objects, to create a soundscape noise. The soundtrack was produced with a penny vibrating on snare drum to create feedback loop through amplifier. This was simple to edit into video as there were no cues to sequence to, but also achieve desired effect when married with video sequence. The soundscape produced a similar but distinct effect to this noises of the film without replicating them, instead creating something that was our own. DB /22. Mountains and Megastructures Exhibition - Construction of the EDZ Model Day 1 The welded model was now complete and placed in the gallery space to be used for the exhibition. The first step for setting up the room was to black out the space. After removing the blinds, the black out fabric was measured out and cut into strips, which were then stapled onto the adjacent wall. The model was placed in approximately in the position we had predetermined for it in the space, and decisions were made as to where the ropes would be attached to the wall, together with how many we would need for the models suspension. After some testing of the ropes positions, and discussions on what we felt worked

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best, pilot holes and plugs were inserted into the wall for added stability, as the walls were of poor quality construction. Following this, the metal fixings were screwed into the wall. This allowed for the ropes to be attached to the model and the wall via the fixings, and subsequently hoisted up. Once we agreed on the angle, position within the space and the suspension of the model, the climbing ropes were tied off to leave the model was suspended around 3 feet off the floor. NW /23. Mountains and Megastructures Exhibition - Construction of the EDZ Model Day 2 After the frame had been installed in the space, the stretch fabric had to be sewn to the model. This was a trial and error method, which involved the whole group holding and stretching the fabric, and sewing it in place. Meanwhile, the projectors were set up with speakers and a bespoke shelf was built in the workshop, to place a projector in the top right hand corner of the room. To black out the entrance and exit, blackout fabric was fixed to either side of the openings, to create a dark lobby in-between. With the model in place, some editing was made to the video clips, cropping them to interact more naturally with the model. Finally, the room was tidied and videos set up on loop to check for any issues that needed to be ironed out before the exhibition. NW /24. Mountains and Megastructures Exhibition - Set up of Other Exhibits As well as the set-up of our own installation for the Mountains

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Bridging the Gap - NW “In recent history, architectural representation has, by necessity, been required to move beyond its traditionally static and self-assured forms. In doing so, it has opened up all sorts of questions on the nature not only of architectural representation but architecture more generally. How do we represent spaces that we know aren’t permanent? How do we make use of the digital’s capacity for precision, while remaining aware that reality is not precisely defined? What is the relationship between the designer and the work, given that both are separated by a range of media and practices that each have their own embedded agencies? The discipline of architecture has always been greater than its professional face. But while the profession has tended to marginalise itself, through an overzealous protection of the title ‘architect’ in the UK for example, and an impossible balancing of contemporary requirements, the media we use and how we relate to them largely go unquestioned. However, more and more architectural thinkers seem awake to the capacity for representation to craft a dialogue between seemingly disparate but connected things. This is striking and more theorists and practitioners are helping to redefine the role of architecture in relation to the imageability of thought, to the tangibility of ideas that architectural representation carries within itself, to the spatiality of meaning. Techniques for this redefinition are numerous and multiple but it is still rare to find architectural processes that take account of observation and embed the observer – as designer or otherwise – within this field, this third space, this surface of affect.

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and Megastructures symposium, we helped organise and construct the other exhibitions in the gallery space. This primarily involved a large-scale clear out of the gallery, the laying out of chairs and setting up boards for work to be exhibited on. Latterly, we assisted people in setting out their own work in each allocated space and co-ordinated lighting to create a unified Unless more architects learn to do so, we believe, our discipline and exciting space for the is missing an opportunity to reflect our position in relation to exhibitions opening, and representation, critically, politically – and, pertinently for any the full day of talks that architectural consideration – spatially.” (Looking; Looking Back, followed. 2015) JD

In architectural studies, the key element which tends to lack in the education curriculum is the built scale. The final product, the hands on building, the construction, the cold building materials transforming from raw natural components to a physical form, then manipulated to create a built environment. This is surely integral in learning development? Even if we are not all destined to bare the prestigious title of ‘Architect,’ it is the common preconception that studying architecture allows you to design and build buildings. In this short essay, the discussion aims to tease out the importance of the tangible human scale objects within architectural representation as a whole. How can drawings be represented in other mediums? In what ways do precedent objects, built materials, and tools become infected by human interaction? What effect does the human hand have on the transition from thoughts and ideas to final built composition? Using the writings of Robin Evans and Alberto Perez-Gomez will provide potentially useful findings to unlock the ‘gap’. In the vast white abyss of Mount Everest, scale is nigh on

/25. Mountains and Megastructures Exhibition - EDZ Discussion James Craig and Matt Ozga-Lawn introduced their project looking in to the EDZ on the opening evening of the symposium, and invited discussion from those attending. The following is a transcript of what was said:

JC: Death recreated by a vessel… EDZ as its known is a very significant part of the mountain… quite a few bodies died there before they reached the summit… very direct physical connection to the area, used as a navigation system… focused on George Mallory one of the first endeavourers to climb the mountain… his body only recovered in 1999… fascinating as no-one is sure whether he

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impossible to comprehend - This worked to our advantage in the exploration of George Mallory and ‘The Epic of Everest’. The vast contrast between the scales of the mountain and human presence allowed for a juxtaposition in drawings and model scales. George Mallory died close to the peak, and the climate preserved his corpse. In the close surroundings, equipment laid preserved in time alluding to pieces in an unsolvable puzzle. Had he reached the peak? This equipment provided tangible objects of human scale for STASUS to use as a starting point in illustrating the death scene. The physical translation of STASUS’ 2D drawing used the indeterminable scale to create the Everest Death Zone model. Whilst the aim of this translation was to further the Everest Death Zone research as a collaboration with STASUS, the secondary and personally more useful goal was to create a 1:1 scaled model with the intention to display in a series of events. There are three areas which will be investigated further here - the act of translation, the medium chosen, and the art of projection. “To translate is to convey. It is to move something without altering it. This is its original meaning and this is what happens in translatory motion…The assumption that there is a uniform space through which meaning may glide without modulation is more than just a naive delusion, however. Only by assuming its pure and unconditional existence in the first place can any precise knowledge of the pattern of deviations from this imaginary condition be gained.” (Evans, 1997) Evans rightly highlights the issue with the act of translation, but this

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reached the summit or not, a number of theories… looking at the fragments of things that have been found… all part of the mapping process. Part of this idea of being a vessel of space, started making our own spaces, within the drawings… A vision of a suspended summit.

need not be a negative conclusion. The ‘modulation’ as he states is part of the human interaction which developed the work from a drawing to an all encompassing model. The medium chosen is a more complex process, there were limiting factors including; weight, strength, and flexibility. The satisfying nature of these decisions allowed a more immersive experience for the production of work. Much like the expedition of the Epic of Everest, a series of objects were relied upon by the endeavourers. The level of technological advancement since that date is negligible as, at the end of the day, the users have (usually) two hands to configure and use the equipment. Whether this be a tool for climbing, an ice-pick or oxygen tank for example, or a tool for designing, a welding torch or cutting saw. Whilst it can be argued that drawing with a pen or CAD drawing with a mouse involved direct hand use, these are secondary motions to the final product - The drawings only provide guidance for the final construction. Evans points out the difference very explicitly: “My own suspicion of the enormous generative part played by architectural drawing stems from a brief period of teaching in an art college. Bringing with me the conviction that architecture and the visual arts were closely allied, I was soon struck by what seemed at the time the peculiar disadvantage under which architects labour, never working directly with the object of their thought, always working at it through some intervening medium, almost always the drawing, while painters

MOL: Never quite certain whether he reached the summit or not, an ambiguity to the event… BFI restored the footage taken by the expedition… In place of the film, footage has been used and spliced… shall we move into the room. [Move into the exhibition] Anon: So what is the best vantage point. NW: Well that would be telling [Participants exploring the exhibition]

JC: Basically the idea of the project has always been to place it into a vessel… drawings into vessel… linked research was a perfect opportunity to move the drawings into a physical form… some of the students made this possible… capturing the essence of the journey itself… projecting moments of the journey onto the vessel itself, it also lines up to give an idea of the movement to the summit… making the drawing physical, really hoping

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and sculptors, who might spend some time on preliminary sketches and maquettes, all ended up working on the thing itself which, naturally, absorbed most of their attention and effort. I still cannot understand, in retrospect, why the implications of this simple observation had never been brought home to me before. The sketch and maquette are much closer to painting and sculpture than a drawing is to a building, and the process of development - the formulation - is rarely brought to a conclusion within these preliminary studies. Nearly always the most intense activity is the construction and manipulation of the final artefact, the purpose of preliminary studies being to give sufficient definition for final work to begin, not to provide a complete determination of effort and indirectness of access still seem to me to be distinguishing features of conventional architecture considered as a visual art, but whether always and necessarily disadvantageous is another question.â&#x20AC;? (Evans, 1997) Therefore, the Everest Death Zone model should be more accurately classed as a sculpture. The hardship and passion expressed by Mallory and his expedition team in the Epic of Everest can be translated into a model more readily, with the subsequent difficulties a physical 1:1 human scale model creates. More of the raw essences of the drawing were conveyed onto the model successfully. The interaction of the fabric with sewing onto the steel provides a potential metaphor for the expedition - the needle puncturing the material and stretching it uncomfortably into an unnatural position on the model, to be drawn and fixed into position.

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that we can make iterations on this to expand the project further. I think that’s it from me… Do you want to say anything about your process NW: I didn’t know a lot about George Mallory or the expedition before the start of the Linked Research Project… A shift from the film and the drawings and what Matt and James took from it… it The filming, cinematography, and photography was a vital part turned into a manipulation to the production excellence of the Epic of Everest. The sheer upon a manipulation upon natural beauty and magnificence of Mount Everest was largely a manipulation. Each time unknown by the general public when the film was originally we could pick up on a point released in 1924, and thus the practical reasoning for displaying and pursue it. The model the film was important. However, the filming is a work of art, and is an example of this, it really is a testing ground the shots captured by Captain John Noel are extraordinary. The of ideas… The film was BFI (British Film Industry) who commissioned the restoration of another example of this, I the film in 2013 highlight the importance of Noel’s work: really do recommend you “Filming in brutally harsh conditions with a watching it if you have a hand-cranked camera, Captain John Noel captured images of few spare hours, maybe breathtaking beauty and considerable historic significance. The not today… later…

film is also among the earliest filmed records of life in Tibet and features sequences at Phari Dzong (Pagri), Shekar Dzong (Xegar) and Rongbuk monastery. But what resonates so deeply is Noel’s ability to frame the vulnerability, isolation and courage of people persevering in one of the world’s harshest landscapes.” (British Film Institute, 2017 http://www.bfi.org.uk/news-opinion/ bfi-film-releases/epic-everest)

JD: A few final thoughts on this really, on what Nik was saying. A few things which came out of it was the ambiguity on whether or not Mallory made it or not… So our translations on the drawing It seemed imperative to capture some of the essences of the were all different, much experience Mallory was enduring, which had been alluded to in like everyone’s views on the model. These the STASUS drawing, ‘Mallory’. The physical model provided moments give a hint as to the vessel for Mallory; the coffin, the death scene, the mountain, the process of the journey and the ambiguity created, allowing us a freedom to install the exhibit in a different way in the future, to set up new interpretations. JC: I think that’s it then folks… thank

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the equipment, the clothing, the ambiguity, the struggle. But, to add a further layer to the narrative, the medium of projection was utilised. Digital projection was used heavily by artists in the 1960/70s when the technology of lighting and projector enabled the ethereal qualities to become eerily apparent. James Turrell toyed with artificially lit rooms where the same effect could never be generated in drawings, and in fact the light and projector produce a final outcome in a different dimension to drawings. Although it could be argued that the power of drawing conveys more than just lines, and many of these qualities are lost when built, with this being the case, surely the medium of projection is more enlightening and opens up options which could not be conceived with a pencil or mouse. Perez-Gomez eloquently summarises this concept into prose: â&#x20AC;&#x153;Projection evokes temporality and boundaries defining the space between light and darkness, between the beginning and the beyond, it illuminates the space of culture, or our individual and collective existenceâ&#x20AC;? (Questions of representation: the poetic origin of architecture, 2005). Using edited clips from the Epic of Everest, manipulated with computer programming, allowed for distortions to be made to the already eerie clips. Focusing on the circular clippings being projected onto the areas of fabric on the vessel at angles gave for interesting and unanticipated glimpses into the expedition. This ambiguity highlighted the exact essence we aimed to replicate and translate from the drawing.

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youâ&#x20AC;Ś itâ&#x20AC;&#x2122;s getting cold in here. NW /26. Mountains and Megastructures Exhibition - Take-down

Ergonomically, the shape, design, and form of objects are created to inhabit the hand in a sensible and comfortable way. The flip side to these positives, is that we as humans become attached to these useful objects and allow them to orientate our movements and acts - Whether it be a mobile phone, virtual reality equipment, or a pair of scissors. However, the area of interest lies more in the equipment used to produce the models and films used in the exhibitions. The design process of welding was new to us as a group, but once the procedure was practiced, the ease and success of instantaneously permanently joining was interesting. This process also made the structure a lot lighter enabling ease of lifting and transportation. The sewing of fabric directly onto the model when it was hoisted into position allowed for the flexibility and accuracy in where we wanted the areas to be covered. There is a delicate balance between using the honesty of materials to work for you whilst allowing for ease of construction and how these attributes may take over the overall essences of the work. The difficulty is that if the kit of tools and parts are regimented in their use, due to being so well designed, this leads to inflexibility and thus the potential for a generic model. The intangible qualities essential for providing the essences of Mallory require a subtle approach. This can only be achieved but using materials and tools in ways they are not intended for; i.e. sewing fabric to a metal skeleton, and using carabiners to join steel to rope.

Once the Mountains and Megastructures symposium and exhibition were finished, we were tasked with tidying up the space. This involved removing our installation and finding somewhere in the school to securely store all the materials and metal structure. DB /27. Storage of EDZ model - broken, dirty fabric

The EDZ model was designed and built as a durable metal frame, that we hoped could be re-exhibited, perhaps in a new space, to take on new meanings depending on the space it was exhibited in. The fabric and ropes were added to the model in-situ, and we intended them to be set up differently depending on the space. We put the model into storage and latterly removed all the ropes and fabric to just leave a bare frame. The frame had to be moved whilst it was being stored, and one of the welded joints broke, which would have to be repaired before it was exhibited again. JD

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Discussing and testing each method before producing the final piece allowed us to hone these essences throughout. Conclusion The human hand is a very versatile piece of equipment and unparalleled in its functions. The technological advancements within the world of architecture have put pressure on the input a hand has in the production of architecture as a whole. Having said this, unlike many processes, which have presently become fully automated, very little in the initial design process has been. The argument that modularisation has made hand built components redundant due to efficiency is true to an extent, but the intangible essences which artists and architects alike are working towards focus on a more unique basis. The preconception that the level of drawing skill dictates the quality of output has hopefully been disproved by realising the plethora of â&#x20AC;&#x2DC;unorthodoxâ&#x20AC;&#x2122; architectural representation available. When building at a 1:1 scale, the pencil becomes less important and the physical hand touching the material and tools comes to the fore. This allows the architect to experience the vital qualities Evans was alluding to which is missing from the current architectural curriculum. The hand is important, it shouldnâ&#x20AC;&#x2122;t be confined to holding a pencil or mouse when its range of abilities far exceed the touch of lead to a piece of paper or a cursor on a monitor. Bibliography British Film Institute. (2017). The Epic of Everest. [online] Available at:

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/28. Walter Pichler - Introduction Following the exhibition, we began to consider the future development of the project. We began by looking into a reference provided to us right at the beginning of the project, Walter Pichler, the background for whom is included below, http://www.bfi.org.uk/news-opinion/bfi-film-releases/epic-everest originally from an article [Accessed 7 Jan. 2017]. in the New York Times:

Craig J, Ozga-Lawn M. Looking; Looking Back. Architectural Research Quarterly 2015, 19(3), 212- 223.

“Walter Pichler, an architect who became a leading artist in Austria’s Evans, R. (1997). Translations from drawing to building. 1st ed. postwar avant-garde movement, eventually Cambridge, Mass.: MIT Press, pp.154-156, 158-165. distancing himself from the art establishment by Perez-Gomez, A. Question of representation: the poetic origin moving to a farm and of architecture. Architectural Research Quarterly 2005, 9(3/4), creating works mainly to pp.217-225. please himself. Mr. Pichler was a sculptor and illustrator whose works included a white, torpedo-shaped helmet with a television inside it (“Portable Living Room”), a rusty bed frame supporting a humanoid form divided by sheets of jagged glass, and numerous drawings and models of fantastical structures, among them floating cities and underground buildings. His architectural drawings were not just plans; they were also works of art in and of themselves. Other images — “dream drawings,” as he called them — were dark and psychologically loaded. His figures were often skeletal

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or robotic. ‘In the early 1960s he was one of a small group of Austrian architects who took a visionary approach and made images of architecture that completely defied the status quo,’ said Barry Bergdoll, the chief curator of architecture and design at the Museum of Modern Art, which owns 16 of Mr. Pichler’s drawings. The group also included the architects Hans Hollein and Raimund Abraham, who won international renown. The group’s drawings and models challenged modernist architecture, which emphasized function and often produced stark buildings devoid of ornamentation and dominated by concrete and metal. ‘They began to explore the emotional resonances of architecture,’ Mr. Bergdoll said. ‘A building might tell a story, rather than just be a function.’ Mr. Pichler liked designing buildings that were never going to be built. In an essay, he wrote, ‘this is what we reproach architectural functionalism with: it no longer functions.’ He proclaimed, ‘What I call for is an architecture which fascinates.’ Walter Pichler was born on Oct. 1, 1936, in Deutschnofen, northern Italy. He studied art at the Hochschule für Architektur in Vienna and began working as an architect in the 1950s. In the early 1970s, after a flurry of shows in Europe and the United States brought him international acclaim, Mr. Pichler moved to Burgenland, a corner of eastern Austria near Hungary, Slovenia and Slovakia, away from the world of galleries, museums, exhibitions, art critics and collectors. There he did what is widely viewed as his best and most important work. ‘He bought a little farm there, and

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in one of the buildings he discovered a little figure that was wrapped in gauze — I think, a Christ figure,” said Barbara Gladstone, owner of the Gladstone Gallery in Manhattan, which has shown his work. “He was inspired to make a kind of altar for it, to give it a special place.’ Mr. Pichler converted a farm building to house the figure and then began altering the other half-dozen or so outbuildings on the property, installing one of his own sculptures in each. One is composed of two large, cylindrical concrete containers with a system of gutters that collect and disgorge water. The sculptures and the buildings that sheltered them became his life’s work.” RZ /29. Moving into Virtual Reality (VR) The original brief for the second half of our project was as follows: “The second project is a study of new VR technologies and their relationship to architectural representation. We are aiming to undertake this study by using Walter Pichler, an Austrian avant garde artist active in the 60s, as a subject for study. Pichler’s incredible and provocative projects such as Portable Living Room (pictured above) and Intensivbox satirise new media obsessions, and seem to prefigure VR headsets such as the Oculus Rift (Facebook), the Hololens (Microsoft) and other emerging virtual and augmented reality experiences. The project aims to generate a virtual environment based around Pichler’s farm in western Austria as a model for exploring both Pichler’s ideas and his interest in the bodily relationship to representation. We will create a

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mixed or mediated reality that merges architectural representation into real spaces, and vice versa, as an experiment to understand the potential of the technology.” RZ /30. History of VR Upon our early research of VR, we came across a detailed history of the concept compiled by the VR society, which is as follows: VR has beginnings that preceded the time that the concept was coined and formalised. Early attempts at VR - Panoramic paintings: If we focus more strictly on the scope of VR as a means of creating the illusion that we are present somewhere we are not, then the earliest attempt at VR is surely the 360-degree murals (or panoramic paintings) from the nineteenth century. These paintings were intended to fill the viewer’s entire field of vision, making them feel present at some historical event or scene. 1838 – Stereoscopic photos & viewers In 1838 Charles Wheatstone’s research demonstrated that the brain processes the different two-dimensional images from each eye into a single object of three dimensions. Viewing two side by side stereoscopic images or photos through a stereoscope gave the user a sense of depth and immersion. The later development of the popular View-Master stereoscope (patented 1939), was used for “virtual tourism”. The design principles of the Stereoscope is used today for the popular Google Cardboard and low budget VR head mounted displays for mobile phones.

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1838 : The stereoscope (Charles Wheatstone) 1849 : The lenticular stereoscope (David Brewster) 1939 : The View-Master (William Gruber) Over time mankind has been slowly but surely creating ever richer ways to stimulate our senses. Things really began to take off in the 20th century, with advent of electronics and computer technology. 1929 – Link Trainer The First Flight Simulator In 1929 Edward Link created the “Link trainer” (patented 1931) probably the first example of a commercial flight simulator, which was entirely electromechanical. It was controlled by motors that linked to the rudder and steering column to modify the pitch and roll. A small motordriven device mimicked turbulence and disturbances. Such was the need for safer ways to train pilots that the US military bought six of these devices for $3500. In 2015 money this was just shy of $50 000. During World War II over 10,000 “blue box” Link Trainers were used by over 500,000 pilots for initial training and improving their skills. 1930s – Science fiction story predicted VR In the 1930s a story by science fiction writer Stanley G. Weinbaum (Pygmalion’s Spectacles) contains the idea of a pair of goggles that let the wearer experience a fictional world through holographics, smell, taste and touch. In hindsight the experience Weinbaum describes for those wearing the goggles are uncannily like the modern and emerging experience of VR, making him a true visionary of the

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field. 1950s – Morton Heilig’s Sensorama In the mid 1950s cinematographer Morton Heilig developed the Sensorama (patented 1962) which was an arcade-style theatre cabinet that would stimulate all the senses, not just sight and sound. It featured stereo speakers, a stereoscopic 3D display, fans, smell generators and a vibrating chair. The Sensorama was intended to fully immerse the individual in the film. He also created six short films for his invention all of which he shot, produced and edited himself. The Sensorama films were titled, Motorcycle, Belly Dancer, Dune Buggy, helicopter, A date with Sabina and I’m a coca cola bottle! 1960 – The first VR Head Mounted Display Morton Heilig’s next invention was the Telesphere Mask (patented 1960) and was the first example of a head-mounted display (HMD), albeit for the non-interactive film medium without any motion tracking. The headset provided stereoscopic 3D and wide vision with stereo sound. 1961 Headsight – First motion tracking HMD In 1961, two Philco Corporation engineers (Comeau & Bryan) developed the first precursor to the HMD as we know it today – the Headsight. It incorporated a video screen for each eye and a magnetic motion tracking system, which was linked to a closed circuit camera. The Headsight was not actually developed for VR applications (the term didn’t exist then), but to allow for immersive

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remote viewing of dangerous situations by the military. Head movements would move a remote camera, allowing the user to naturally look around the environment. Headsight was the first step in the evolution of the VR head mounted display but it lacked the integration of computer and image generation. 1965 – The Ultimate display by Ivan Sutherland Ivan Sutherland described the “Ultimate Display” concept that could simulate reality to the point where one could not tell the difference from actual reality. His concept included: A virtual world viewed through a HMD and appeared realistic through augmented 3D sound and tactile feedback. Computer hardware to create the virtual word and maintain it in real time. The ability users to interact with objects in the virtual world in a realistic way “The ultimate display would, of course, be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming such a display could literally be the Wonderland into which Alice walked.” – Ivan Sutherland This paper would become a core blueprint for the concepts that encompass VR today. 1968 – Sword of Damocles In 1968 Ivan Sutherland and his student Bob Sproull created the first VR / AR head mounted display (Sword of Damocles) that was connected to

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a computer and not a camera. It was a large and scary looking contraption that was too heavy for any user to comfortably wear and was suspended from the ceiling (hence its name). The user would also need to be strapped into the device. The computer generated graphics were very primitive wireframe rooms and objects. 1969 – Artificial Reality In 1969 Myron Kruegere a VR computer artist developed a series of experiences which he termed “artificial reality” in which he developed computer-generated environments that responded to the people in it. The projects named GLOWFLOW, METAPLAY, and PSYCHIC SPACE were progressions in his research which ultimately let to the development of VIDEOPLACE technology. This technology enabled people to communicate with each other in a responsive computer generated environment despite being miles apart. 1987 – VR the name was born Even after all of this development in VR, there still wasn’t an all-encompassing term to describe the field. This all changed in 1987 when Jaron Lanier, founder of the visual programming lab (VPL), coined (or according to some popularised) the term “VR”. The research area now had a name. Through his company VPL research Jaron developed a range of VR gear including the Dataglove (along with Tom Zimmerman) and the EyePhone head mounted display. They were the first company to sell VR goggles (EyePhone 1 $9400; EyePhone HRX $49,000) and gloves ($9000). A major development in the area of VR haptics.

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1991 – Virtuality Group Arcade Machines We began to see VR devices to which the public had access, although household ownership of cutting edge VR was still far out of reach. The Virtuality Group launched a range of arcade games and machines. Players would wear a set of VR goggles and play on gaming machines with realtime (less than 50ms latency) immersive stereoscopic 3D visuals. Some units were also networked together for a multi-player gaming experience. 1992 – The Lawnmower Man The Lawnmower Man movie introduced the concept of VR to a wider audience. It was in part based on the founder of VR Jaron Lanier and his early laboratory days. Jaron was played by Pierce Brosnan, a scientist who used VR therapy on a mentally disabled patient. Real VR equipment from VPL research labs was used in the film and the director Brett Leonard, admitted to drawing inspiration from companies like VPL. 1993 – SEGA announce new VR glasses Sega announced the Sega VR headset for the Sega Genesis console in 1993 at the Consumer Electronics Show in 1993. The wrap-around prototype glasses had head tracking, stereo sound and LCD screens in the visor. Sega fully intended to release the product at a price point of about $200 at the time, or about $322 in 2015 money. However, technical development difficulties meant that the device would forever remain in the prototype phase despite having developed 4 games for this product. This was a huge flop for Sega.

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1995 – Nintendo Virtual Boy The Nintendo Virtual Boy (originally known as VR-32) was a 3D gaming console that was hyped to be the first ever portable console that could display true 3D graphics. It was first released in Japan and North America at a price of $180 but it was a commercial failure despite price drops. The reported reasons for this failure were a lack of colour in graphics (games were in red and black), there was a lack of software support and it was difficult to use the console in a comfortable position. The following year they discontinued its production and sale. 1999 – The Matrix In 1999 the Wachowski siblings’ film The Matrix hits theatres. The film features characters that are living in a fully simulated world, with many completely unaware that they do not live in the real world. Although some previous films had dabbled in depicting VR, such as Tron in 1982 and Lawnmower Man in 1992, The Matrix has a major cultural impact and brought the topic of simulated reality into the mainstream. VR in the 21st century The first fifteen years of the 21st century has seen major, rapid advancement in the development of VR. Computer technology, especially small and powerful mobile technologies, have exploded while prices are constantly driven down. The rise of smartphones with high-density displays and 3D graphics capabilities has enabled a generation of lightweight and practical VR devices. The video game industry has continued to drive the development of consumer VR unabated. Depth sensing cameras sensor suites, motion

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controllers and natural human interfaces are already a part of daily human computing tasks. In recent years, companies like Google have released interim VR products such as the Google Cardboard, a DIY headset that uses a smartphone to drive it. Companies like Samsung have taken this concept further with products such as the Galaxy Gear, which is mass produced and contains â&#x20AC;&#x153;smartâ&#x20AC;? features such as gesture control. Developer versions of final consumer products have also been available for a few years, so there has been a steady stream of software projects creating content for the immanent market entrance of modern VR. It seems clear that 2016 will be a key year in the VR industry. Multiple consumer devices that seem to finally answer the unfulfilled promises made by VR in the 1990s will come to market at that time. These include the pioneering Oculus Rift, which was purchased by social media giant Facebook in 2014 for the staggering sum of $2BN. An incredible vote of confidence in where the industry is set to go. When the Oculus Rift releases in 2016 it will be competing with products from Valve corporation and HTC, Microsoft as well as Sony Computer Entertainment. These heavyweights are sure to be followed by many other enterprises, should the market take off as expected. /31. Representation techniques in VR For the project, the school had agreed to provide us with a HTC Vive VR headset, complete with a high-specification computer to run the software required for the building and

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running of VR environments. At present, the use of a headset like the Vive is synonymous with the VR experience. Being such a complex piece of equipment, we could not edit the actual headset in any way, but there was scope for producing a surrounding frame which could incorporate further components to enhance the experience and engage further senses or those around the wearer, such as lights, external projectors, motors or fans. We thought it would be interesting to produce a viewing experience for anyone viewing the wearer of the headset and not just the wearer themself. An intriguing factor of VR, but a daunting one in using it, is its near limitless possibilities. The potential to represent and produce anything in the virtual space causes a conundrum when deciding on a final visual experience, as one is not restricted to the rules of nature and the real world. In an early meeting, we discussed whether we should use the work we had already undertaken in the EDZ project as a starting point and catalyst for our forays into VR. We felt that this would not only make our research more unified, but would also allow for a unique comparison between two representation mediums, real and virtual. NW /32. VR Exhibition Precedent - Gibson/ Martelli In the build up to creating our own VR environments, we researched a variety of artists and architects who had used it in their own work, to gain an insight into creative uses of the technology. One of the key precedents we came across were artists

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Gibson/Martelli. In their own words “British electronic arts duo Gibson / Martelli make live simulations using performance capture, computer generated models and an array of technologies including VR. Artworks of infinite duration are built within game engines where surround sound heightens the sense of immersion. They playfully address the position of the self in relation to technology, examining ideas of player, performer and visitor - intertwining familiar tropes of video games and art traditions of figure & landscape. Experimentation with software epitomises the work of the artists, adapting and ‘modding’, to create tightly controlled worlds for people to explore and interact with. They strip away, reconstruct, repurpose, re-mix and customise the tools of mass entertainment, integral to their contemporary digital craft.” The pair were of particular interest to us as their work blurs the line between the physical and the virtual in their exhibitions that incorporate VR, this would be particularly helpful for us, as in beginning to understand VR and its possibilities, we became interested in a VR environment that was entered within a specifically designed physical space, that preceded the experience within the headset. We discussed the possibility of using the EDZ installation as a reference for this space, designing a new configuration that would incorporate a VR experience within it. This was no doubt a further challenge within the project, however, we felt it could be a fascinating part of our research, as it would be intriguing to create an experience that anchored the virtual in the physical as much as

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possible, blurring the contrast between the two. The thought of placing on a VR headset in a generic space nothing to do with the VR space felt like it would be too abrupt of a jump between real and virtual which would undo the narrative of the virtual before it had even begun. We wanted the user to be immersed in an experience (like that of the EDZ installation) before they had even put the headset on, therefore the headset would become the last part of a story in which the user is almost seamlessly guided into the virtual world of VR, so that it becomes almost reality. White Island: “White Island draws on S. A. Andrée’s doomed Polar balloon expedition of 1897. Attempting to reach the Pole, Andrée’s balloon crashed on the ice near Kvitøya (White Island). The three expedition members perished and their final camp site was only located in 1930. Consulting textual and photographic documentation left by the original expedition members, Gibson/Martelli built a computer generated world using height map data and game engine technology.” Our main interest in the White Island project (apart from its subject matter relating closely to ours) was the use of physical rope that linked up to an external frame in the space. The user would put on a VR headset but would still be able interact with the physical world around them, putting them in a state of limbo between the real and the virtual, to a point where one loses sense of which is which. We wanted to incorporate similar physical elements into our VR installation, to engage other senses into a fuller, more immersive experience. In Search of Abandonment: “In Search of Abandoned allows visitors to explore a non-place in the

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Arctic Circle. The terrain presents itself as a three dimensional stereoscopic image - a lattice of woven geometry with dynamic sound bringing together an imagined view of place & an experienced one.” From this project, which again included physical elements in the exhibition space to be interacted with, our main interest was the projection on the wall of what the user was seeing. This projection would increase how many people can ‘experience’ the exhibit at once, as it is not only the person wearing the VR headset who is involved, but also an observer or observers, who view the person immersed in their experience. In this way, the person wearing the VR headset is performing a re-enactment for the observer. Due to the this, both the performer and observer not only become part of an exciting event, but their respective positions between the virtual and the real is in a state of ambiguity. This was a very exciting proposition for us, and we were keen to create the role of ‘observer’ through creating a perceivable re-enactment from the wearer of the VR headset. JD /33. VR Space - Drawings

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To enable our research into VR and its possibilities, we were required to set up a space within the architecture school which we could use to build and test virtual environments. To gain permission from the school, we were required to produce a document that describes how the proposed VR studio would work, what equipment would be needed and how it would be set up. This document comprised of plans, sections and axonometrics of the space with the equipment in

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situ, with short descriptions of how the space would work. Any technical aspects of the VR equipment were covered in the HTC Vive user manual, which was attached as an appendix to the submission. These documents were passed to Matthew Ozga-Lawn to be submitted to the University with the hope of the equipment being ordered before the summer. DB

User guide

/34. HTC Vive - Introduction A good introduction to the technology we used for the project is found in an article by Digital Frontier, a world leader in marketing and creative concept visualisations in the 3D field: “HTC Vive is a VR headset developed by HTC and Valve Corporation, released on 5 April 2016. This headset is designed to utilise “room scale” technology to turn a room into 3D space via sensors, with the virtual world allowing the user to navigate naturally, with the ability to walk around and use motion tracked hand-held controllers to vividly manipulate objects, interact with precision, communicate and experience immersive environments. Unveiled during HTC’s Mobile World Congress keynote in March 2015, the HTC Vive has since been awarded over 22 awards in CES 2016, including best of CES. The HTC Vive is the high end best of the best experience. With hardware costs running at around $800 USD for the glasses plus the costs of the PC/Laptop to cope with the graphics demand the cost of installation is going to be around $2-3,000 USD depending on the configuration. The experience with the HTC Vive is absolutely amazing and the user is transported into a different world with the ability to interact completely

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A Claim for Embodiment: The Role of Virtual Reality in Architectural Design and Representation - DB In recent years the rapid development of virtual reality technology has resulted in the first ever commercially available VR headsets, ranging from cardboard smart phone modifications, to full room tracking set ups capable of tracking bodily movement within a three dimensional space. Due to the accessibility of VR, the architectural industry, as expected, is currently testing, experimenting and theorising on the possible applications VR may have within architectural design and representation. In response to this current circumstance, this essay will attempt to briefly explore the possibilities of virtual reality within architecture, and how this may allow designers to inhabit spaces and environments previously restricted within the confines of two dimensional architectural representation. The catalyst for this essay was a text called Translations from Drawing to Building, by the late architectural teacher and historian, Robin Evans. In his paper, Evans discusses the peculiar and unique role that architectural representation plays within the development of an architects design, and proposes that the current modes of representation both distance and dis-embody the designer. Due to the importance of Evans essay in the development of the ideas present within this text, Translations from Drawing to Building will be used as a core text, acting as a theoretical spine to underpin the discussion.

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with the virtual environment through the HTC Vive controllers which appear virtually in the view ports as well as physically by the hand-held controller.â&#x20AC;? By purchasing a top-of-the-range headset, the team felt that we would have the best opportunity to test our ideas using the technology. RZ

Firstly, the essay will analyse and discuss the concepts and ideas present within Evans text. In doing so, the hope is to establish a clear and concise theoretical framework that highlights the limitations and problematic relationships present within architectural representation and production. The paper will then analyse, with reference to artist Matthew Barney, the ramifications of choosing VR to represent ones work. Once these themes are established, we will then discuss, with close reference to the analysis of Evans text, the potential that virtual reality may, or may not hold when considering the issues raised.

/35. Programming Work Flows

and

Initial research into the technical aspects of developing VR environments raised more questions than answers. Due to the still relatively early stage that VR development stands at, the most efficient or â&#x20AC;&#x2DC;bestâ&#x20AC;&#x2122; work-flow is very difficult A Space of Modulation to pinpoint. Unity and If we consider architectural representation as broadly being an Unreal Engine 4 are the attempt to communicate an idea, whether formal, technical or two main options for the conceptual, then the means and medium of how we communicate SteamVR API, however compatibility issues still the idea becomes of paramount importance. The predominant exist within both options. medium that is used as a method to communicate an architectural In addition, the need to intention is drawing. From austere, strictly black and white use a non-architectural line drawings, to heavily post processed visualisation renders, modelling package, such as both are attempting to project a future object through a two Blender or Maya, seemed dimensional composition. Due to the communicative desire to be very likely due to that a designer projects upon their representations, there is then the inefficient nature of a responsibility that the drawing must carry with it a set of programs such as Sketch Up and Rhino. This would readable languages, helping the reader translate and interpret the also allow us to utilise UV designers intention. Evans argues that the need for translation and normal technology, further improving the efficiency of our models, resulting in better VR performance. All of the above is still needed to be tested on the arrival of the University VR equipment, but it was helpful as a group to start gaining a sense of the

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interpretation is the point at which: â&#x20AC;&#x153;Things can get bent, broken or lost on the way. The assumption that there is a uniform space through which meaning may glide without modulation is more than just a naive delusionâ&#x20AC;? (Evans, 1997). To ensure that drawings can be read in the suitably intended manner an internationally readable taxonomy of codes, conventions and styles are available to help express the desired information or effect; plan, section, elevation, axonometric, isometric, oblique parallel projection, 1,2 and 3 point perspective. Within these larger classifications lye another matrix of smaller, but no less important, visual decisions that must be considered by the architect; exploded projection, opacity, monochrome, colour, orientation, texturing, shading. This layered network of classifications can be seen to be the modulation that Evans alludes to within his text; a legible visual language that attempts to ensure the accurate interpretation and translation by the reader. In this passage, Evans also describes this process of modulation as a space, a void through which spatial form is synthesised, represented and interpreted in tandem. The space of modulation between the architect and the final, built form, represents the inevitable distance and dis embodiment that exists between the designer and their formal desire. In his essay, Evans continues by first discussing the notion of decompressing this space by choosing, â&#x20AC;&#x153;to join architecture to the other

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technological requirements that would be required. DB /36. Immersing into VR After initial research into VR, we decided that we needed to experience a VR headset before we proceeded to design the and test the visual arts more securely by insisting that only that which the VR experiences that we architect manipulates with his own hands is his work” (Evans, had started to discuss. 1997). The paper goes on to suggest that in fact a better, more We had all used Google generative use of this space of modulation, “would be to use Cardboard and similar the transitive, commutative properties of the drawing to better ‘semi-VR’ equipment effect” (Evans, 1997). This, in his mind, was a need to scrutinise before, but got the chance and meditate upon the act of drawing as the point at which a to try out a HTC Vive that DB owned to give us productive dialogue between drawer and drawing begins to a better idea of what we appear: might be able to produce. “Still, it would be as crude to insist on the architect’s First and foremost, we unfettered imagination as the true source of forms, as it would had to learn how to set to portray the drawing technique alone as the fount of formal up the equipment, which invention. The point is that the imagination and the technique we did in the space in the worked well together, the one enlarging the other” (Evans, 1997). gallery in which our EDZ installation had been, which felt quite apt to There can be seen to be two opposing approaches available to transition in to this next oneself in the attempt to address the particular issues regarding phase of our project. When the distant and abstracted nature of architectural representation. the sensors, computer These can be classified as, firstly, one concerned with the and headset had all been embodiment of the architect, allowing 1:1 scale interaction and set up, we all tried using manipulation with their design, and secondly, one driven by the a variety of software on attempt to harvest the space of dis-embodiment that occurs in the headset; games and the act of drawing. The opposing relationship between the two virtual experiences created by other developers, and modes of production raises the question that, by utilising another a SketchUp model that medium other than two dimensional projection via paper or DB had converted into a VR model using Unity. This helped us begin to understand the possibilities and limitations of the headsets and VR, which would help inform the design of our VR environments. JD

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screen, can architectural drawing achieve embodiment of the architect, whilst also utilising the productive disembodied state achieved through visual production. Embodiment Through Disembodiment During his career, New York based artist, Matthew Barney, has worked in a large variety of mediums, from drawing and sculpture, to film making and site specific performance installations. For the purposes of this discussion, however, we will focus on one of his earlier works, Drawing Restraint II. For this piece, Barney hung a sheet of paper high up on the wall of his studio, unreachable without climbing, and then constructed obstacles around his studio further preventing easy access to the piece of paper. In addition to this, he also attached elasticated ropes around his waist that were intentionally anchored and tensioned to induce resistance when he reached a close enough distance to draw on the paper. Barney would then traverse the obstacles whilst fighting against the resistance in an attempt to create a single line on the paper. Barney would often display this piece in the form of two hung frames; one containing the photograph depicting the physical process of drawing, whilst the second frame housed the piece of paper displaying the resulting pencil marks. The distinction Barney makes between the two elements that comprise this piece can be read to be a working diagram of the opposing approaches discussed earlier in this essay. The photograph can be seen to be Barneyâ&#x20AC;&#x2122;s attempt to both document and depict the act

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/37. Potential For a Second Exhibition - Tyne Bridge As we continued with our formulation of ideas regarding the use of VR in our project, Matt OzgaLawn informed us during the summer break that he had applied for a second chance to exhibit the EDZ of embodiment inherit within this piece, an aspect that Barney installation, within the has previously stated that, “right from the start I wanted to put my North Tower of the Tyne body into my work” (Barney, 2010). Bridge. This exhibition In the opposite frame resides the pencil marked paper, that when was part of the Being read in isolation has no aesthetic, compositional or artistic value, Human: Scaling the however when read in reference to the photograph begins to Heights, a unique event embody and represent the physical act of drawing that Barney in the UK, scheduled for a week in mid-November, undertook, despite it’s abstracted and disembodied physical and we all thought that it manifestation. The 1:1 bodily act of climbing the obstacles was a fantastic opportunity and pushing against the tensile resistance is conceptually and to be involved. At this biographically held within the confines of the paper and pencil stage, we were required mark. Within this relationship, both representations have to submit a proposal of transformed into a tool through which an enhanced understanding how our installation would of the other can be achieved. Of course the drawing output in this sit, along with another example does not contain any architectural visual code, language range of exhibits, in the allocated space. The North or symbolism, however the method used by Barney explicitly Tower is owned by and demonstrates an inter-dependent relationship between embodied the responsibility of the process and dis embodied representation and translation. council, and is not usually open to the public. There Within an exhibition if one would wish to re-present this piece, are various issues with however on this occasion Barney’s mode of representing the this, as the space is very embodied process, the photograph, be replaced by a virtual reality dirty, especially due to its re-enactment of the piece, a new layer is introduced regarding the inhabitation by pigeons, and will need a lot of role of dis embodiment within representation. Firstly I would like work to make it habitable. to clarify that when using the term re-enactment, this only applies Furthermore, the electricity supply within the tower was potentially going to be inadequate, as the fuse boxes were untested and potentially unusable. These are all issues which could all be sorted and arranged closer to the date. We felt as

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to certain aspects of the work. The only physical objects retained from the original process would be the tensioned rope, the obstacles and the pencil, all other aspects would be represented within the virtual reality projection; the room, the paper, lighting etc. The speed, method and choice of traversal would be open and free for the participant. The first aspect to discuss is that of the desire of the participant. Within this example that desire is the ability to draw a line, and within this piece can be seen to be represented by the tools needed for drawing, a pencil and paper. Firstly, the pencil is represented by an actual pencil held by the participant, however the paper is virtually projected to them in the form of a digital rendering of a piece of paper against a virtual wall. This circumstance raises an interesting contradiction that shows, at one side, the paper has gone through a process of disembodiment by removing it from the physical world, thus removing any possibility of bodily interaction. On the other side, the pencil has remained physically present, embodied within its own existence, however this is now the object of disembodiment within the perspective of the participant as it has no digital projection within virtual reality. Within this spatial and experiential dialogue the possibility of mark making is impossible, the pencil may never meet with the paper, whether digitally or physically. Through this relationship it becomes extremely unclear as to what can be considered the space of embodiment, and what can be considered an act of representation. Through virtual reality the viewer is able to embody

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a group that the opportunity to produce a second iteration of the installation in a completely different space with a new set of constraints/ opportunities was a great chance to further our research on immersive architectural representation. The new space also gave us a new environment in which to develop the VR, blurring the boundary between material and virtual the artists intentions and actions spatially, experiencing Barney’s environments. studio and process through a digital reconstruction, however this NW

act of embodiment comes at the cost of disembodying oneself from the real physical context that the participant is present within; the embodied 1:1 experience has been achieved through disembodied representation, a notion which is somewhat counter intuitive when considering the ideas discussed by Evans.

/38. Walter Pichler Further Research

In tandem with our development of options for the Scaling the Heights Architectural Embodiment exhibition, we continued If we now apply the same method of thinking to the problematic our work looking into VR. issue of architectural representation, virtual reality again This involved furthering produces some interesting results. Within the Barney example our research of precedents the participants role is to re-enact an already defined operation, and influences, including limited by the choreography of the original work, thus utilising Walter Pichler. virtual reality as a tool to merely project an already finalised Walter Pichler was introduced to us at piece. For the purposes of architectural production, using virtual the start of the project as reality as a method by which to represent a final design is a possible figure to centre certainly a viable application, and most likely the predominant or investigations into manner in which the industry will use such technology. This, VR around. He became however, is not the application this text wishes to propose. a key reference not only Instead, if we consider using virtual reality as a design method, for the content of our comparative to the way in which drawing and modelling is used, VR experience, but for then its power to disrupt the relationship between embodied and inspiration on how the modified headset itself disembodied translation becomes of particular interest. may look or work. Pichler, born in Italy, but spending much of his life as one of Austria’s leading postwar avant-garde artists, produced many pieces of work which precede and suggest an immersive, virtual-reality experience. His spaceage looking headsets ‘TV-Helm’,

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If we refer back to what this paper has previously termed the space of modulation, it can be argued that, through the correct application, virtual reality may allow us to inhabit this space as a three dimensional digital projection. If, for instance, an architect were able to draw their work within a virtual environment, and in real time have their drawing, whether abstract or figurative, appear within their digital surroundings, the environment they exist within can be read as a manifestation of the space of modulation. In addition, it must be reiterated that the user is experiencing this on a 1:1 scale, achieving the act of embodiment that Evans outlines as concerned with â&#x20AC;&#x153;involvement, substantially, tangibility, presence, immediacy, direct actionâ&#x20AC;? (Evans, 1997). The concept of achieving embodiment through disembodied experience, which was discussed in relation to Barneyâ&#x20AC;&#x2122;s work, is also of importance when considering the application virtual reality has within architectural representation. If, for instance, an architect was to present his work using both a VR element alongside traditional physical projections, a relationship between the two realms begins to appear. This newly discovered space between embodied representation and disembodied projection may hold rich and interesting representational potential, both working together to achieve narratives and experiences unable to be achieved through traditional representational means. Virtual reality will no doubt continue to become an often talked about and used tool within architectural representation, however if used in a similar way to that of computer rendering, which has widely been adopted to perpetuate the

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(Tragbares Wohnzimmer, 1967) and ‘Small Room’, (Kleiner Raum, 1967) were key precedents in the development of our adapted VR headset. His other prototypes constructed out of wire and tensile fabrics to create small but inhabitable space were important references for both our EDZ installations and the creation of the VR environments. The production of hegemonic architecture that is preoccupied with introverted and sanctuaryimage and commerce, the industry risks missing the powerful like spaces as well as and complex representational potential that the medium holds. the helmets that Pichler If, on the other hand, virtual reality is utilised as a tool to explore created, can be read both representation and spatial design in unison, its potential to as both a prediction of create embodied architectural experiences may help generate an future developments of architecture which breaks from the widely practiced approach VR technology, as well as a critical comment of established typologies and geometric aesthetic trickery that on the nature in which a contemporary architectural production is currently so enamoured television can dislocate by. the viewer from the reality they are in. Pichler’s works Bibliography and interests became a Evans, R. (1997). Translations from Drawing to Building and continued reference for us other Essays. London: Janet Evans and Architectural Association. as a group as we developed the project, and gave us a way in to relating our San Fransisco Museum of Modern Art. 2010. Matthew Barney on own studies in to the the origins of “DRAWING RESTRAINT”. wider context of art and architectural history and Spector, N. (2002). Matthew Barney: The Cremaster Cycle. New theory. York: Guggenheim Museum Publications. JD

Barney, M. (2005). Drawing Restraint Vol. 1: 1987 - 2002. Kolin: Buchhandlung Walther Konig

/39. Unity - Introduction

From discussions within the group, we settled on the use of Unity as the software in which to create our virtual reality environments. The following extract from Plural Sights’ website provides a good introduction to the program. “Unity game engine offers a vast array

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of features and a fairly easy to grasp interface. Its bread and butter is crossplatform integration, meaning games can be quickly and easily ported onto Android, iOS, Windows Phone 8, and BlackBerry, making it a great game engine for the development of mobile games. It also has the capabilities of development for consoles. However, if you’re a new developer there is a lot more that goes into console development, because you are required to gain access to console SDKs which new developers will likely not be able to do. The game engine supports assets from major 3D applications like 3ds Max, Maya, Softimage, CINEMA 4D, Blender and more, meaning there is no real restrictions to the type of file formats that it supports. With the recent release of Unity 4.3 it also has native 2D capabilities, supporting sprites and 2D physics, making it a great game engine to use for the development of 2D games. While the engine supports integration of just about any 3D application, it does, however, suffer in the amount of editing capabilities inside the engine editor. Unity has no real modelling or building features outside of a few primitive shapes so everything will need to be created in a third party 3D application. It does, however, boast a large asset library where a wide variety of assets can be downloaded or purchased (pricing is determined by the asset author).” We felt that Unity would be perfect for the length and nature of our project, and began to learn how to use it between us. RZ /40. Interrogating Unity Initial VR tests were promising due to the newly released

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SteamVR asset pack available within Unity 5. This allowed for easy and quick inclusion of a VR headset acting as a camera within the digital environment. It also allowed SketchUp models to be quickly imported into Unity. However, models created inside SketchUp seemed to create large render frame draw call logs, suggesting less than optimum polygon efficiency within SketchUp models, which was a concern of ours before using the program. This would suggest that using a different modelling package would perhaps still have been very beneficial. Further research and testing into the technical hurdles within VR development was still needed as we knew it would dictate what we could technically achieve with the hardware and software available. DB /41. Tyne Bridge - Site Visit As the venue for the second exhibition was extremely different to the previous space we used for Mountains and Megastructures, it was very important that we understood the limitations and opportunities inherent within the new venue. An initial site visit was arranged for exhibition team members to visit the tower and document any important issues for future reference, as access is normally extremely restricted. DB attended this visit, and found the space to be extremely dirty, (due to the high population of pigeons) wet, (due to leaks in the roof) and uneven underfoot. All these factors made it difficult to walk around the space fully, and would have to be taken into account in both the set up and the running of the exhibition. The visit allowed recording of the space through photographs, which helped

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inform the rest of the group about the nature of the space, and any key opportunities/constraints. DB /42. Space Layout - Initial Drawings Over the summer, we co-ordinated with both Newcastle Universityâ&#x20AC;&#x2122;s Architecture Research Collaborative and the City Council over the organisation of Scaling the Heights. One of the things that they required were drawings of how the space was to be used for the exhibition. JD produced a plan showing the existing space and proposing where everything for the event would be positioned, including the exhibitions, seating, projectors and screens. At this point, it was still unclear whether we could use the power sockets in the space or not, so they were preliminarily indicated as were the electrical cable routes. These were sent to Matt Ozga-Lawn for co-ordination. JD /43. Space Layout - Drawing Iterations Matt made some suggested changes to the layouts, and also updated the team on the progress of the events organisation, notably that some of the exhibits had altered slightly. JD altered the plan to reflect these changes. The Council established that the power sockets within the space were not to be used, and these were therefore removed from the drawings. This forced the decision that all the electrical equipment for the event was to be battery powered. Though this was an added cost and complication to the ordering process, using battery powered appliances freed up the plan to be arranged exactly as required, which made for a richer

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1 x bookcase and chairs/sofa and reading light

Sci-fi Library: Amy Butt

Rutter Carroll exhibition

Lecture Space (60 seats to be arranged for seated events and stored)

Spot lights to be supplied

Lucinda Photography

Light (above)

Fence

EDZ images

Cabinet: Christos Kakalis

Projector (above)

EDZ installation (above) Plug Socket

Projecter (above) Light (above)

Wiring

Light (above) Speaker Installation: James Davoll and David de la Haye

3 x Halogen wash lights - attached to â&#x20AC;&#x2DC;Alphapackâ&#x20AC;&#x2122; mixing deck. (to be supplied by Culture Lab)

LEDs on Stairs (supplied)

8 x large speaker/headphone unit (supplied by artists)

Tyne Bridge Exhibition Plan 001 - 1:100@a3

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layout of the exhibition as a whole. NW produced a section of the space, which was key to show how each exhibit would work, and the suspension of the EDZ exhibit, which we wanted to be above occupants heads, to take advantage of the dramatic height of the space. JD /44. Space Layout - Final Drawings and Design Freeze After several iterations of plans by JD, the final plan layout of the exhibition was established and frozen. From this stage, the sketch drawings had to be formalised, so they could be submitted to the Council, so that they could grant final permission for the exhibition. For this, we included labels highlighting key health and safety considerations for the event within the space; primarily lighting and the entrance and exit points. These drawings were submitted to the Council and also distributed to the whole team for their information. JD /45. Meeting - Event Logistics As the opening date of the exhibition grew closer, we met several times with Matt and James. In addition to this, we also met new team member, Polly, who was going to be coordinating the exhibition set up. Several key issues were raised in these meetings, one of the most challenging of which was the lack of mains power in the space. Due to the battery powered equipment we were using to solve this problem, we had to develop a battery charging schedule, as we calculated most of the batteries we were using only had enough power to run

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Light

Panels

Fence

Light

EDZ installation (above)

Projector Manned area ensuring no access to stairs

Lecture Space (60 seats)

Plug Socket LEDs Manned staff area with Banner (supplied)

Tyne Bridge Exhibition Section 001 - 1:100@a3

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for one day of the exhibition before they required charging. In addition, logistics of transporting materials and equipment from the University to the exhibition space required careful consideration, due to the limited availability of university vans. This meeting gave us a chance to air any other concerns/ questions we had regarding the event, and was very helpful for us as a team. DB /46. Re-structuring of the brief On returning to University after the summer-break, the team met to discuss how our project would progress that semester. One of the main topics discussed was testing what we had done so far against the initial brief, and whether we still felt that brief reflected the best path for the project. The Scaling the Heights exhibition, which was never expected as part of our research was an extremely exciting opportunity for us to be participating in, and would involve producing a second iteration of the EDZ installation in a new environment. Developing this project further by installing it in a larger and more dramatic space than before gave us the chance to push the representation of the EDZ even further, and it would be fascinating to reflect on the outputs of this. However, JD expressed concerns that the time and energy put into this project would take away from the exploration of architectural representation through the medium of virtual reality, which was initially intended to be done through looking into Walter Pichler and producing environments around the starting point of his farm. JD proposed that the VR exploration could continue the EDZ project, using the themes and

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development of forms that we had worked on to inform our first attempts at virtual environments. The group agreed with this, the feeling being that our previous development of the EDZ would enrich our VR exploration, rather than ‘starting from scratch’. It was noted that this would bring a strong linear narrative to our linked research, as opposed to it being made up of two disjointed halves. In re-working the brief, we have taken the EDZ project from drawing to virtual reality, with all the previous developments, tests, and installations mapping out the ‘space in-between’ the two very different representational mediums. This felt like the crux of the project, the exploration of the ‘in-between’, and a way of finding a natural progression from architectural drawing into a rich virtual environment. This would be drastically different to the norm in the profession presently, using VR to represent proposed spaces in a cold, lifeless way - a render which is inhabited rather than a rich environment conveying further meaning. Our aim was to convey more abstract themes using the VR, instead of just the visual perception of a real-world space. We felt that his would give the potential of unlocking the intangible themes of the EDZ project, including ambiguity, wonder, amazement and fear. JD /47. Physical headset research The HTC Vive headset is a practical and highly sophisticated piece of engineering. However, the aesthetics of the black plastic headset severally let down the magical aura provided by virtual reality. This allows for an exciting opportunity to design and build a headset to enhance the virtual reality

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experience. By researching Walter Pichler and more specifically the TV helmet of 1967, ideas were generated regarding the purpose for the headset. The TV helmet allowed the participants entire head to disappear into the futurist capsule. Creating links to George Mallory, through association of our helmet to his head-wear from the expedition seemed fitting. This further linked to the juxtaposition of viewpoints, where the participant could feel that they are exploring the realms of Everest as Mallory did. As with Pichlerâ&#x20AC;&#x2122;s designs, part of the theatre was the participation of other members watching the primary participant investigating the VR experience. When immersing yourself into virtual reality, all other senses are disrupted, making it difficult to appreciate the physical surroundings you are inhabiting. Therefore, creating an abstract headset links not only to the virtual reality, but also Mallory and the Everest Death Zone. NW /48. Charrette- Model Iterations During Charrette week, DB, JD, and NW were allocated within the same Charrette group. Our group was tasked with developing several installations to evoke sensual exploration, something which complimented our VR research. This allowed for some time to be spent on 1:1 scale headset models. The headset allows for the encasement of the HTC Vive headset. The hope was that this would produce a more physical representation of the virtual reality created, and also allow interactions with the person using the HTC Vive. The

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process began with some discussions and quick sketches to flesh out a design approach. Our work on the headset proved beneficial for the lower years within the school, to demonstrate the importance of using physical model creation to develop and spatialise designs. Using card as a material was a flexible way of quickly illustrating thoughts and sketches into a three dimensional form. A few models were completed, allowing us as a team to reflect and comment on the development of the final piece, to be displayed in the final exhibition of the virtual reality research at the end of the project. NW /49. Headset drawings and modelling It was through group discussions, informed by our reflections on Walter Pichler amongst other precedents, that we decided that we wanted our VR installation to be more than just a generic headset in an empty room, as the immediacy of using VR in this in our tests felt too abrupt, and the experience received - though often amazing - felt undeniably false, almost like flicking through channels on a television. We felt the way to challenge this was to install the VR as part of a greater installation, which included physical elements and well as potentially projections of what the wearer of the VR headset was seeing, allowing the experience to not be limited to the 1st person, but there would also be a 3rd person role, an observer of the occupier. In the context of the EDZ project, we began to design a larger apparatus or harness for the person experiencing the VR to occupy, which would include a headset which does

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more than the off-the-shelf model does alone. We developed our design for a headset for the HTC Vive to fit into, which could house motors, lights, and projectors, to enable the other operations we wanted the VR headset to perform. By producing drawings and models in tandem, each influenced the development of the other, we tried to design something that was both lightweight and practical, but was also informed by our references and the EDZ project itself. Card models were used to test out ideas of a timber or plastic model, and further down the line we agreed on a metal design, informed by our previous EDZ installations. JD /50. Completing HTC Vive order The HTC Vive proved to be more difficult than initially anticipated to acquire. Due to this, the group unfortunately had to keep requesting updates and information regarding the status of the HTC Vive orders. One aspect we had not originally considered was that the department/University ordering process would have created such a delay in receiving the VR equipment, delaying our testing and development of the research brief. This caused some frustration within the group, however the expense and consideration involved in acquiring such high-end equipment was understandable. DB /51. SketchUp Modelling An initial exercise part of our initial testing of VR was the virtual modelling of Mount Everest. Considering the scale of Everest and the complexity, we used the plug-in

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in Rhino to capture the mountains topography, and then, through a series of topography modelling techniques, the model was completed. With the model of Everest translated into virtual reality, the HTC Vive could give us a better understanding of the environment Mallory faced. RZ /52. Modelling the exhibition space in VR In response to visiting the exhibition site, we decided it may be generative to model the space digitally with the hope to explore a site specific VR installation at a later date. This process was also an exercise in helping to explore the VR work-flows that had been researched earlier. The space was modelled in SketchUp, then exported as an .fbx file into Unity engine. DB /53.Virtual Reality Room Once the VR equipment had been delivered, the space chosen to act as a VR studio needed to be cleared to allow for set up of the equipment. As the space was currently being used as a storage room, this task predominately involved re-organising the items to fit more efficiently within the available space. Once adequate space had been created, the hardware could then be set up and moved into the room. To set up the space for VR, sensors were required to be installed at opposite corners of the room to allow full room tracking of the VR headset and handsets. This process involved fixing permanent sensor brackets into the walls and calibration of the headset. The calibration itself involved tracing

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out the dimensions of the room with a handset, essentially defining the boundaries of the playable area within VR. Once this process was complete, the headset was ready to use. DB /54. Preparation for the exhibition In the weeks leading up to the exhibition, it was important to structure the work necessary to be completed for the event. Meetings were held to regularly to methodically prepare and organise the logistics to ensure a smooth event set up. Furthermore, Matt asked us to distribute leaflets throughout the city to reputable shops/galleries/cafĂŠs. This allowed us to promote the event and the work we were soon to display. We found that most of the public were really interested in the North Tower being open, with many of the elder locals remembered an internal lift providing vertical transport to the top of the Tyne Bridge at a price of one penny. NW /55. Ordering and acquiring materials In preparation for the exhibition it was required for us to order some new materials for the installation. As the new installation intended to be suspended above the exhibition floor, it is very important that we have good quality rope and carabiners to suspend the structural from. Due to the large quantity needed of each item, the online sourcing of theses materials proved difficult as all stockists were either unable to deliver the correct quantity, or were unable to guarantee delivery on time. Eventually, the products were sourced locally from climbing shops

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where we were able to pick the items up directly. This, however, raised another issue regarding how to arrange payment for the items using the university account, causing 5 - 6 days delay on receiving the goods. DB /56. Repairing Skeletal Model The Everest Death Zone model from the exhibition, ‘Mountains and Megastructures’ in March had broken slightly during transportation to the storage room. Before the model could be transported to the Tyne Tower for the ‘Scaling the Heights’ exhibition, it had to be re-welded and strengthened in the metal workshop. The process began by stripping the existing model of thread, fabric, and rope, to leave the skeletal metal frame. After making contact with Steve from the Fine Art metal workshop, we took the model back to the welding area. No additional metal was needed as the overarching aim was to keep it as authentic as possible, letting the new exhibition space inform the representation change. Knowing that the Everest Death Zone model would be suspended above people makes it imperative that the joints were more securely welded together. The welding began by refreshing the process of both using the equipment and health and safety information. We methodically went through every joint, re-welding from all sides with a lower temperature to ensure stronger joints. Once completed, the skeletal structure was ready to be transported to the Tyne Tower exhibition space. NW /57. Testing in VR Space

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Once the model of the Everest had been modelled within SketchUp, it was translated into Unity. At this stage, it seemed fitting to utilise the new VR space to test and understand the premise of what we are hoping to achieve in the future. It is important to understand the limitations and possibilities of the programmes being used and the space we are working in. RZ /58. Transportation to the North Tower Unlike the previous exhibition, where the majority of the equipment necessary to set up the exhibition was in the University, the exhibition space within the tower is bare. Therefore, we had to transport, using the University porters, all of the equipment, tools, and displays. After preparing all of the relevant items to take with us, several van trips were needed. DB and RZ remained in university to load the vans and NW and JD were unloading by the tower. This took many hours to complete, and is a reminder of the extra work that an external exhibition requires in setting up. RZ /59. Setting up Everest Death Zone The setting up of the EDZ exhibition was a greater task than just reinstalling the existing structure in a new setting. For the installation is inherently informed by its surroundings, with the rope supporting it; requiring tying back to the structure of the space it is in, and the projectors requiring mounting in the space. The exposed heavy gauge steel structure within the tower was perfect for both these

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requirements, with the extra room and beauty of the space making for a completely different spectacle to the previous exhibition. In a small crit space within the architecture school, our treatment of the room was to block it out, making it dark and drawing attention away from the modelâ&#x20AC;&#x2122;s surroundings. This was the opposite within the tower, we thought that the height, drama, and beauty of the space would actually enhance the themes that the EDZ project has always desired to convey; themes of danger, human endeavour, and sheer spectacle were made much more tangible by the space itself. This idea of the model working with the space changed our approach; we decided not to blackout the space, so that during daylight hours there would be a different effect to the night (when the space would be dimly lit). Further to this, the ropes supporting the structure could extend a greater distance than in the previous exhibition space to allow the installation to have an overarching and more dramatic presence. The structure was also to be suspended above peopleâ&#x20AC;&#x2122;s heads, and so had to be installed using a movable scaffold. Using newly bought rope and carabiners, both of which were stronger than those used previously to accommodate the more ambitious installation, we started by clipping on the ropes to the structure using the carabiners. The subtlety of using certified knots used in climbing, allowed the rope to be secured using strangled bowline knots, which gave security when attaching the carabiners to the rope and structure. We felt using specified knots associated with mountaineering was important, and that these details were key references in an abstract piece such as this one. The

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â&#x20AC;&#x153;...The structure was also to be suspended above peopleâ&#x20AC;&#x2122;s heads, and so had to be installed using a movable scaffold. Using newly bought rope and carabiners, both of which were stronger than those used previously to accommodate the more ambitious installation, we started by clipping on the ropes to the structure using the carabiners. The subtlety of using certified knots used in climbing, allowed the rope to be secured using strangled bowline knots, which gave security when attaching the carabiners to the rope and structure. We felt using specified knots associated with mountaineering was important, and that these details were key references in an abstract piece such as this one. The structure was 188

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then hoisted up and tied to the four junctions between the steel columns and beams in the centre of the space. By adjusting the lengths of these first four ropes we could determine the exact angle and position of the structure, which we tweaked and tested until the initial position of the structure was settled upon. Each rope added subsequently could tweak the angle and position of the structure, as well as expanding the installation as whole into the rest of the space. We then stretched, sewed, and tied the fabric to the structure in situ, co-ordinating between ourselves for the best size and position of each piece. The position of the fabric is key not just as a visual element in itself, but it is also the surface which is projected on to.â&#x20AC;? 189

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structure was then hoisted up and tied to the four junctions between the steel columns and beams in the centre of the space. By adjusting the lengths of these first four ropes we could determine the exact angle and position of the structure, which we tweaked and tested until the initial position of the structure was settled upon. Each rope added subsequently could tweak the angle and position of the structure, as well as expanding the installation as whole into the rest of the space. We then stretched, sewed, and tied the fabric to the structure in situ, co-ordinating between ourselves for the best size and position of each piece. The position of the fabric is key not just as a visual element in itself, but it is also the surface which is projected on to. Therefore, we made sure that effects successful before, such as ribbing, folds and stretches were achieved, to begin to distort the projected footage, to create the ambiguity of narrative which was a key theme we wanted in the installations from the start. JD /60. Exhibition set up - Art work One of the major tasks in setting up the exhibition is the printing, cropping, mounting and hanging of the art work that will be on display. To ensure things were done in a time efficient manner, two of us were given the responsibility for this task which allowed for a consistent finish. The printing was done at University using the printing facilities. The mounting of the images was done using spray mount which attached the images to a white foam board backing, which were then centrally mounted onto individual

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black A0 foam boards. Finally, the black foam board was then hung onto a framing system that was transported from the university to the exhibition space. In addition to mounted imagery, the exhibition also contained a sound installation by local artists. Due to the specialist nature of this installation, we were not tasked to help set up this piece. DB /61. Health and Safety risk analysis One member from the linked research group (NW) was tasked with becoming a health and safety advisor. This meant that along with Polly Gould (event coordinator), a meeting was held with Andrew McKenna, the University Health and Safety Advisor, to run through the event procedures and assess the level of risk in specific areas. Fire extinguishers had been acquired from the University and two were placed at the top of the stairs and by the front entrance (one Foam and one CO2 in each location). Whilst the risk of fire was very minimal in a cold large space with very few combustibles, the risks mainly associated with the space were the unclean nature of the venue as well as the lighting of walkways and stairs. A caveat for running of the event, put in place by the council, was the professional cleaning of the space, costing thousands of pounds. This dealt with the majority of bird faeces and meant that people could enter the space without a chance of respiratory issues. The electricity supply within the building could not be used without the council checking the fuse box was safe to use. This would have cost a few thousand pounds, and thus only battery operated equipment was used. The lighting system put in place was a series

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of battery operated work lights. These were then set up in specified locations to ensure that visitors had a route which was adequately lit. The intentions of the space was to remain dark, so to create the atmosphere whilst being safe for visitors, every visitor was given a small hand-held LED torch. Overall the Health and Safety Advisor Andrew was satisfied with the level of risk at the event and deemed it a ‘low risk event’. NW /62. Exhibition Team Prior the opening night of the exhibition, the team gathered for a meeting to allow everyone to run through various safety considerations, logistical concerns, and general responsibilities that each team member would take on whilst the exhibition was open to the public. This team meeting gave everyone a chance to meet others involved in organising the event, whilst also allowing us to run through the ‘Invigilation and Disaster Plan’ that had been prepared for team members. DB /63. Twitter

“...@NewcastleUniAPL”

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As well as the set up of the event, it was important to promote and document its progression. The main way in which this was done was through posts on the Newcastle University Architecture Planning and Landscape page @NewcastleUniAPL. JD took responsibility for this, posting regular photos of the exhibition, together with reminders of each event throughout the week. This helped attract further people to talks, but was also a great way of documenting and celebrating the event as a whole, with Scaling the Heights

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being the flagship event of the Being Human Festival 2016. JD /64. Batteries Without access to electricity within the exhibition space, all equipment must be powered by battery. Hiring eight rechargeable high powered work lights (8 hours of charge) provided the flexibility of lighting the space throughout the week. The Health and Safety advisor gave several fixed positions for the work lights, but the rest of the space was flexibly lit depending on the nature of talk or event occurring. The lights were charged during the week when necessary in the hotel opposite where Polly stayed, and in the University later on in the week. The small display lights on the display boards were powered by battery packs also, which were charged in a similar fashion to the work lights. RZ /65. Audio/Visual set up The logistics of the technical equipment was one of the most important parts of the day to day running of the event. Unfortunately, during the opening night, some of the audio equipment was not working to an adequate standard. The microphone and speaker sets were not as efficient at projecting the spoken voice to an effective level of clarity. This took some adjusting, and towards the end of the week, on the final three evenings, a different system was used, using more powerful battery charged speakers connected through an amplifier. There were three main areas to set up each day for the event: the sound installation, the

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projector displaying the edited footage onto the Everest Death Zone model, and the presentation set up. The sound installation was set up prior to the opening by either David de la Haye or James Davoll, the two members from Culture Lab who recorded and set up this installation. Each day, the leisure battery was recharged, and they set up the speakers to play from a laptop via an amplifier. The sound installation was muted during any talks. The battery powered projector only lasted for 2.5 hours and thus was charged each day. When placing it in position on the steel horizontal bar, a strong angled arm was used. However, this was modified with an MDF plate to join the projector to the arm. Each day, the arm was placed into position using the movable scaffolding, and taken down in the evening using the reverse procedure. The final part of the daily set up was the Microsoft Surface Pro attached to another battery powered projector for the PowerPoint presentations for the guest speakers. Any presentations or films were loaded onto the Surface Pro via a USB connection, and presented from here using a mini HD connection. NW /66. Invigilation As a group, the four of us were tasked with invigilating the event throughout the week, whilst being supported by a rotating senior invigilator (Polly Gould and Katie Lloyd Thomas). The role can be split broadly into two categories; - Pre-opening setup, which involved the setting up of recharged batteries, lighting of space, setting up of

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projectors, delegating positions (door, stairs, main space). These tasks were generally delegated out evenly between the four group members. - Post opening invigilation. This role involved the live management of the exhibition whilst open to the public. The role involved different responsibilities depending on the individual invigilators position within the building. Those on the door were tasked with greeting the guests, ticking names off the booking list whilst also giving a brief safety statement, supplying guests with torches and also attracting attention to the passing public. The invigilator located on the stairs between the main space and the entrance doors was responsible with providing the guests with a map of the space and giving a brief explanation of the art pieces on display. In addition to this, when possible, guests were also asked to fill in a feedback form to be handed back to us later in the evening. The final invigilators were based in the main exhibition space and were tasked with answering any questions raised by the public, whilst also fixing any issues that may occur during opening hours. - Once the exhibition was closed to the public, the tasks needed were to gather any batteries that may need to be charged, and make sure all elements of the space are switched off and locked appropriately. DB /67. Rescue! - Rain On Monday 21st November there was heavy rain throughout the day. The tower would be next open to the public on Wednesday evening.

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Beyond Representation… Approaching Chora? - JD Introduction Throughout this project, ‘Beyond Representation’, we have sought to push the boundaries of what ‘representation’ can mean and involve within architecture. Using STASUS’ Everest Death Zone project and drawings as a ‘subject’, we have tested two methods of representation - the installation and virtual reality (VR). Both of these are very much underused within the architectural sphere, which is currently dominated by drawings and models (both of which are increasingly produced on the computer). But when a ‘representational method’ can be inhabited and explored at a 1:1 scale, as our installation and virtual reality environments can, do they become architecture in themselves? Or is there a ‘space’ in-between architecture and representation? If so, how could we define it? This essay proposes that methods which inhabit this so-called space between, approach Plato’s notion of ‘Khora (Chora)’ in their existence, and explores the possibilities and implications that approaching Chora could hold for the architectural field. The notion of ‘Chora’ is first set out in Plato’s dialogue Timaeus, describing a third place which rests between the intelligible (abstract) and the sensible (material), and is the origin of both (Plato, 360bc). Stating that it is complex and obscure in its nature, Plato uses the Greek word Chora to define this third place, which translates as ‘space’, ‘receptacle’ or ‘site’. (Coyne, 2011)

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Although all of the equipment and exhibition materials were stored as per the handbook on the Sunday afternoon, it seemed that a check of the exhibition was necessary before returning to the tower on Wednesday afternoon. Entering at 11pm on Monday evening was interesting; to be greeted with a torrent of rain running down most internal walls and dripping from the roof on the far Since Plato’s setting out of this idea of a third type of space, it has side. Whilst the technical caught the imaginations of many philosophers and, as it is in its equipment was raised very essence spatial, architects. One of the most visible pursuits off the ground and no of Chora performed in recent times is seen in the writings of damaged was caused, there French Algerian philosopher Jacques Derrida, who first discusses was some rain damage to Plato’s notion in his own writing entitled Khora. Amy Butt’s Science fiction book collection. These books were taken home to Coyne unpacks Plato’s assigning of Chora as feminine, in that be air dried lightly close to it is ‘receptacle, everything is inscribed on it’. He goes on to the radiator, this salvaged explain that Plato sees Chora as not only receptacle, but also them, and were able to virginal, ‘absolutely blank, and that everything that is printed on be used for the remainder it is automatically effaced.’ Coyne goes as far as to say that Chora of the exhibition. Further is an ‘impossible surface’, as everything that is inscribed in it is damage was caused to erased immediately, whilst remaining in it. (Coyne, 2011) the printed works, which needed to be re-printed and mounted. Overall, In his reading of Derrida, Jeff Collins states that Chora is a it was fortunate that the ‘spacing’ as opposed a ‘place’, as it resists presence, (Collins, exhibition was checked 1996) and that Plato can only describe it using numerous and at this moment, or the elaborate metaphors (Collins, 1996). Julia Kristeva affirms this consequences could notion: have been a lot worse. “Although the Chora can be designated and regulated, Subsequently, the storage it can never be definitely posited: as a result, one can situate the of the equipment and exhibition items for Chora and, if necessary, lend it a topology, but one can never give the remainder of the it axiomatic form”. (Kristeva, 2000) exhibition was more sensitively thought of with the possibility of more rain. NW /68. Talks: 18.11.16: “Mountains” STASUS and Dr. Martin Beattie

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Derrida attempted to design a material manifestation of Chora in his project with Peter Eisenman for a garden in Bernhard Tschumi’s Parc de la Villette. In this, the pair again are reduced to using metaphors, which, though spatial, seem to confirm that Chora alone cannot be represented, in the same way that the notion of ‘abstract’ cannot be represented in itself, rather, it is a method or an approach to creating space. John Caputo states that Chora is: ‘Neither present nor absent, active or passive, the good nor evil, living nor non-living - but rather atheological and non-human Chora is not even a receptacle… She/it receives all without becoming anything, which is why she/it can become the subject of neither a philosopheme nor mytheme. In short, the khôra is tout autre (fully other).’ (Caputo, 1997) The definition of Chora as ‘impossible’ or ‘fully other’ by nearly all of its commentators is not contested in this essay. However, my arguments attempt to demonstrate how the installations and virtual reality environments of the Everest Death Zone project begin to possess properties close to that of Chora, and in their likeness to it, communicate notions both tangible and intangible far more richly than traditional architectural drawings and models do. Installation During the course of this project we twice participated in the creation

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On Friday 18th November, architects STASUS introduced the Scaling the Heights exhibition and the Everest Death Zone, and Dr. Martin Beattie’s talked on travels on the edge of empire: John Stapylton Grey Pemberton’s expedition to Darjeeling and the ‘snowy ranges’. Matt and James of an exhibition; ‘Mountains and Megastructures’ and ‘Scaling gave a general synopsis to the Heights’. For each, we used the same metal frame structure, their research, including together with a collection of other materials including stretch reference to the past fabric, climbing ropes and carabiners, to create our installation. exhibition. A slide show was presented on the The primary aim of the installations was to spatially represent photographs taken at the the doomed ascent of Everest of adventurer George Mallory, time of George Mallory’s expedition as well as of the particularly focussing on his death. Using STASUS’ drawing scale of Everest. Presenting ‘Mallory’ as a starting point, together with conversations with underneath the EDZ model James Craig and Matt Ozga-Lawn, we explored whether death was apt as the scale of the itself could be represented spatially. By attempting to represent model, research, and event death - a non-spatial intelligible concept - in the material world, location culminated in a was the first move we made toward Chora, as Plato defines Chora unique experience. as both it as both conceptual (intelligible) and sensible (material). Martin Beattie’s research looks at the way cultures mix (or not as the In representing the conceptual and immaterial, creators including case may be) and how that philosophers, artists and architects often reach for metaphors as process manifests itself a tool to explain the abstract notion they wish to convey. The in architecture. Between use of metaphor was a key strategy of ours in the design of the 1999 and 2005, he spent Everest Death Zone installation. For example: the angular form much time in Kolkata, of the metalwork as metaphor for the harsh weather conditions, India, researching for danger and the mountains topography. The fabric was used as his PhD, which used metaphor for Mallory’s old fashioned and fragile clothing, cloth Homi K. Bhabha’s notion of hybridity as used to wrap a dead body and the unpredictable sheets of snow an interpretive tool on cove. Also, the suspension of the structure represents the tension specific architectural sites of cultural dialogue in Kolkata. His research in cultural hybridity, by its nature, involves multi-focussed, interdisciplinary, comparative work, and is focussed on open-ended analysis of cultural interaction. He has worked in

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and ambiguity of whether the climber reached the summit or not. The way in which our installations ‘held’ these metaphors can be likened to the way in which a mirror holds a reflection. The mirror is used as an example of how Chora works by Plato. He states that although Chora does hold an image, nothing is retained, in the same way in which a mirror does not retain a reflection of an object once it has gone. The static and fundamentally material nature of an installation means that it cannot posses the exact same temporal nature of reflections enabled by the mirror. However, given that our installation are in there nature temporary, and each person’s experience of the installation relies on their physical presence, and they cannot view it once they have physically left, an installation certainly posses a more temporal nature than a drawing or model, which once created remains static and unchanged. A moment of viewing an installation can never be completely replicated, as minor changes in its set up and the environment create a difference in the experience. Alberto Perez Gomez argues in his article Chora: The Space of Architectural Representation that Chora is ‘the space of human creation and participation’, going on to use theatre as an embodiment of Chora’s functioning, in that the theatre is a ‘space for contemplation and participation’ as well as ‘the place of the chorus, choreography and other concepts shared with Chora’. (Pérez-Gómez, 2014) The idea of Chora as theatrical in nature recalls an observation from a viewer of the EDZ in the Tyne Bridge Tower, who likened the experience of

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areas such as anthropology, sociology, art, literature, and philosophy. This also acted as a slight test for the event as the nature of the location meant that unforeseeable consequences were possible. Martin had slight issue with the lighting as reading from notes was problematic with little ambient lighting. The microphone equipment was a cheap viewing the installation in the space to the experience of a theatre, import and caused some which he put down to the space’s drama, the narrative of the reverberations issues film projection and the feeling of the exhibition as ‘an event, amongst the space, an occasion’. Oscillating between theatre and architecture the although this added EDZ installation displays further properties attributed to Chora; a certain authenticity temporal, choreographed and participatory. to an usual location. Coupled with a cold damp dark space, visitors Perez Gomez does not only give theatre as an example of the were immersed into a embodiment of Chora, but actually insists that Chora is, in its challenging environment, very essence, architectural, stating that it is not just an integral much like the atmospheres part but in fact the very meaning of architecture. interrogated by the talks ‘Chora, and empty gap that is not nothingness, throughout the week. assumed by common sense to by the exclusive space of action, RZ

is the meaning of architecture. In works of architecture that transcend the reductions of functional modernism and the pastiches of historicism, however, it is revealed as infinitely dense and impenetrable.’ From Perez Gomez’s observations and further unpacking of Chora in relation to architecture, we begin to understand it as a space of human creation, participation and importantly of contemplation. Contemplation is key for defining Chora as it is about thought and understanding (the intelligible), Perez Gomez suggests that the very meaning of architecture is about creating material (sensible) spaces to contemplate in - and it is in the meeting of the sensible and the intelligible that tie his theory right

/69. Talks: 19/20.11.16: Talks by Neil Barker and walking tours by Rutter Carroll

On Saturday and Sunday, the exhibition was open to the public between 12-4pm. This meant that the space was not as dark as in the evenings and thus took on a different atmosphere. Much of the time for the invigilators based by the front entrance was spent coercing members of the public to come and explore the rarely opened Tyne Tower - on the Saturday the visitor numbers reached 135, whilst the Sunday Market

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back to the monologue of Plato in Timaeus. In considering whether The Everest Death zone installation could be considered a ‘place of contemplation’, I have looked to Paul James’ writings on the work of Walter Pichler, in which he states that there is a connection between ‘atmosphere’ within a space and the notion of contemplating ones worldview or ‘horizons’: ‘Martin Heidegger argued that we perceive the world through various horizons, which can be religious, moral, ideological, aesthetic and psychological. It is through these categories, he argued, that we interpret the sense and purpose of existence and history.’ (James, 2008) James goes on to argue that atmosphere is a form of horizon, in that it is the spatial field through which we encounter and subsequently represent the world. But how can one define atmosphere within architecture or space? Creating atmosphere in architecture, James states, relates to the critical strategy of clouding, to render obscure and resist rhetorical clarity within the creation of a space; (James, 2008) tactics borrowed from Pichler in our creation of the Everest Death Zone installation, where we used metaphors and abstract forms to cloud and obscure the literal journey of Mallory, creating instead an atmosphere which leads to contemplation for the occupier of the space. It is therefore through the reading the EDZ installation as not only a space of human creation and participation, but also one of contemplation, that it more clearly seems to align with Chora in its nature; a material vessel of abstract concepts, free from and functional intentions and historic pastiche.

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proved a more difficult occasion to lure visitors in. Two events were planned for each day; firstly a talk by Neil Barker on the building of the bridge, followed by a walking tour by Architect Rutter Carroll. Whilst Neil’s talk was the same on both days, Rutter toured the northern side of the gorge on Saturday and the southern Gateshead side on Sunday. The two events Whilst I have mapped out some of the ways in which our EDZ complimented each other installation begins to approach Chora in various elements of nicely, with the majority of its nature, there is a key aspect where it undeniably differs - its visitors signing up for both material presence. As outlined earlier, Chora’s definition as events. The more historical ‘receptacle’ but also completely blank, with everything it receives and technical 30 minute is immediately erased, alludes to its labelling by Coyne as an talk by Neil presented a series of collated images ‘impossible surface’. Our installation, whilst I have argued to build a picture of the displays elements of the intelligible, takes place primarily in construction of the bridge the sensible world, and whilst it disappears from the space it as well as the cultural and was in, there is not the same sense of a blank, virginal surface political consequences. that is suggested of Chora. It was on this realisation that I began Rutter then had a 1.5hour to consider whether, by the translating of the EDZ project into walking tour exploring virtual reality, it brought our project closer to a ‘Choral state’ than the gorge with a more the installation was. architectural tone to the history and culture of the two areas. NW attended Virtual Reality the tour on the Sunday Rudi Visker believes that when Marcel Proust states virtuality, of the southern side of memory is ‘real without being actual, ideal without being the gorge, Gateshead, to abstract’, he has defined virtual reality. Perez Gomez claims document and photograph that the virtual realm ‘hovers between the idea and the actual… for the Architecture partaking in both’. Both of these statements align with my Research Collaborative. previous setting out of Chora, as between the intelligible NW

and sensible, and so suggest that virtual reality could give a convincing experience of Chora. Perez Gomez himself goes on to

/70. Talks: 23.11.16: “Vertical Megastructures” - Steve Graham and Amy Butt

For this talk Steve Graham and Amy Butt each gave a lecture on science fiction and the vertical city. Steve’s talk traced his interest in the

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suggest that virtual reality as ‘useful metaphor for the phantasmagoric world of Plato’s receptacle (Chora)’. (Pérez-Gómez, 2014) In our project, we have been able to test this proposition, most interestingly with the creation of our EDZ experience, which brought some of elements from the EDZ installation into the virtual world. Following on from my previous outlining of Chora as blank and virginal - suggested in the writings of Derrida and Plato - it is interesting to consider whether virtual reality aligns with Chora in this way. The virtual reality experience that we set up was used through the wearing of a visual/audio headset, which transmits images via a digital screen. When the experience is over the screen immediately goes black, without leaving a trace. The headset appears exactly as it was before the VR experience. This shows parallels to Derrida’s metaphor for Chora of the mirror, with an image not left inscribed on the surface but instantly erased. The way in which I believe that virtual reality moves beyond the metaphor of the mirror is in way it is perceived. Whereas a mirror is usually flat and viewed in clear distinction to the surrounding material world, the absorbing, all-encompassing ‘other world’ encountered in virtual reality is nearer to Plato’s discussion of ‘the bottomless abyss of Chora… staged in the text by reflection without limit, bottom or ground’ (Plato, 360bc) which he goes on to liken to an abyss that causes dizziness and vertigo. The ability to create all these sensations is often viewed as

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vertical back to his childhood growing up amongst some of the newly built high rise blocks and above ground walkways. As the talk progressed, Steve discussed how concepts, images, and buildings featured in science fiction often precedes and possibly even informs future development of the city. This is due to developers, architects and investors’ view of the a fatal flaw of virtual reality headsets, but here demonstrates how city being shaped by their VR again starts to embody Choral space. consumption of science fiction. He highlighted The observations I have made regarding virtual reality lead me specific links between to argue the possibility that VR technology might enable the Hong Kong and the occupier to experience an environment as close to Chora as has Bladerunner film, as well ever been possible. In would suggest that through experiencing as the Burj Khalifa and the Emerald City in the our EDZ scenario which, like the installation, holds the thematic Wizard of Oz. Amy Butt metaphors of the EDZ project, contains precise choreography, discussed her collection and enables contemplation through atmosphere, I would suggest of science fiction novels the gap to Chora narrows even further. and expanded on some of the themes that Steve introduced, about the Conclusion close links between Our efforts in the exploration of the gap between architecture and the architecture of science fiction and the representation have been fascinating, as well as richly rewarding contemporary city. to our understanding of what creating different typologies of The talks and space can entail and mean. It is therefore perhaps in our pursuits following discussion of things ‘other’, things that we do not understand, that we can explored the human expand our architectural thinking to reach the most exciting endeavour of vertical possibilities. It is on this reflection, therefore, that the following megastructures, which quote from Richard Coyne seems to ring true: were interesting to reflect “The effort required to identify and justify Chora is upon in relation to our project, which represents more rewarding than representing it. Chora is emblematic of a human endeavour to radical orientation to knowledge, and therefore to architecture.” explore and conquer the worlds vertical axis. The links between architecture and the mountain were explored further in talks later in the week. One intriguing comment which was made by an attendee of the

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(Coyne, 2011) Therefore, weather we fully understand what it is that we are creating, approaching Chora or not, is perhaps not the most important thing, though it is a fascinating reflection, and one that will inform my architectural thinking in future. Bibliography Caputo, J. (1997). The prayers and tears of Jacques Derrida. Bloomington, Ind.: Indiana University Press. Collins, J., Mayblin, B., Appignanesi, R. and Collins, J. (1996). Introducing Derrida. 1st ed. Duxford: Icon. Coyne, R. (2011). Derrida for architects. Abingdon, Oxon: Routledge. Derrida, J. and Caputo, J. (1997). Deconstruction in a nutshell. New York: Fordham University Press. James, P. (2008). Walter Pichler’s House Next to the Smithy: Atmosphere and Ground. Architectural Design, 78(3), pp.60-63. Kristeva, J. (2000). The routledge language and cultural theory reader. 1st ed. London: Routledge. Pérez-Gómez, A. and Parcell, S. (2014). Chora 1. Montréal: McGillQueen’s University Press. Plato, and Jowett, B. (n.d.). Timaeus. 1st ed. Champaign, Ill.: Project Gutenberg.

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event, was that the lectures felt like a performance, a ‘theatre’. He felt that the cold and dark of the dramatic space, together with the echo of the microphone and the small audience all contributed to the event being so theatrical in its nature, and as a result far more engaging for not only the academics that attended, but also the wider public. This was a fascinating observation and felt like a key aspect of immersive environments, installations and exhibitions as modes of architectural representation. JD /71. Screening: 24.11.16: “The Epic of Everest” This event was of special interest to our group in that it was a chance for people to view the full screening of the ‘Epic of Everest’ film, which had influenced and been directly used in or installation. The film was shown on a screen which was directly beneath our model, which was itself being projected on using the video we had made for Mountains and Megastructures. The projection featured a series of distorted and edited clips of the original film; further distorted by the complex geometry of the fabric covering the model. To see the two works in tandem was both beautiful and intriguing, the links between the

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film and the installation evident for all who attended. Times where clips of the film corresponded between the film and the installation made for special and unique moments, which would not be possible to create in the same away again, once the exhibition had finished. This temporal nature of the ‘installation as architectural representation’ gives it an added quality, the sense that it won’t be possible to recreate specific moments again enhances the drama spectacle, to give a sense of performance and the theatrical, that a simple drawing or model, still, subdued and passive, could not convey in the same way. This was an interesting reflection on our studies, and is presents a strong case for installations to be used more frequently by architects to convey abstract, complex and almost intangible themes. JD /72. Talks: 25.11.16 - Lucinda Grange and Dr. Josep-Maria Garcia-Fuentes’ On Friday 25 November, the adventure photographer Lucinda Grange presented “Outside the lines” - her breathtaking endeavours to photograph from the heights of vertical megastructures. Lucinda’s personal website, http:// www.lucindagrange.com/, gives a succinct biography; “Lucinda Grange is an award winning English adventure photographer. She has travelled the world, scaling some of the tallest and most iconic structures and buildings. Amongst her list of climbs is the Great Pyramid, Firth of Forth Rail Bridge and the Chrysler Building. Lucinda has been published by the BBC, New York Post, The Independent, The Guardian and exhibited in the Museum of London and

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the National Football Museum but the name a few. Lucinda uses photography as a means of self expression, to identify with the more obvious and hidden aspects of her character. She believes that a person is defined by their actions and choices, and are therefore defined by the environments they choose to put themselves in. This explains why Lucinda records her own surroundings, photographing the people and places she chooses to have around her. Lucinda records social documentary in an unusual manner, sometimes alienating herself to do so, resulting in angst and solipsism. Beauty, fragility and fear are all present and tangible within the work. Lucinda’s approach to documentary photography utilises high points within the landscape, it has been said that her images challenge the viewer to reconsider the environment they find themselves in.” Many visitors attended the exhibition to view the images from Lucinda (other than the EDZ, it was one of the main highlights). Her charisma and work ethic proved invaluable to us as a group as she provided assistance throughout the week setting up the exhibition. The passion she portrays in explaining the reasoning behind the individual photographs formed the bulk of her talk. This was exciting to see as viewers were treated to a fine selection of unseen photographs from journeys and expeditions around world. An interesting story navigated the audience through a treacherous adventure involving almost being arrested by the authorities by the Pyramids of Egypt, and making a speedy escape on a camel. Links can inevitably be drawn between the early 20th Century expeditions

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exploring the world, and the 21st Century equivalent by finding areas illegal or dangerous to visit. She very kindly presented us with prints of her latest photograph in New York as a gift for setting up the exhibition. RZ Dr. Josep-Maria GarciaFuentes gave a talk on â&#x20AC;&#x153;The mountainous search for a modern architectureâ&#x20AC;?. The premise of the talk was to introduce the audience to an alternative history to modern architecture from the early 20th Century. Pep argued that there are many sources to describing and illustrating the fundamentals of modernism, and what is generally taught as architectural history is only one strand. Instead of Antonio Gaudi being seen as an outcast or outsider to the movement, he should be realised as the key leader. The talk meandered through the major mountainous regions around the world and the magnetic draw people had to the spirituality of these regions. Vast natural environments became the areas where people were attracted by - the industrial revolution turned city hubs into polluted and fierce environments. There were two main paths of reaction at the time; incorporating nature into existing architecture (mountains placed within Churches), and using geometric analysis to mechanically create natural environment (zoos, theme parks, and artificial mountains). Key influencers other than Gaudi included, Le Corbusier, and Bruno Taut whom were influenced by Viollet-Le-Duc and John Ruskin. The talk was fantastic and really opened up the conversation on how narrowminded the common preconception of modernism is, and left the audience with some theoretical findings to reflect

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upon. NW /73. End of exhibition By the end of 25th, November, our exhibition closed. The following day, the large task of taking down and repacking all of the material, tools, and equipment took place. Using University porters once more, we transported all items via a few trips back to the Architecture Dept. The frame for our sculpture finally accomplished its mission. RZ /74. End of Everest Death Zone model Once all exhibition equipment had been returned to university and the tower had been cleared a decision had to be made regarding what to do with the Everest Death Zone structure itself. It was decided that as we considered the closing of the exhibition to be the end of the Everest Death Zone installation, the piece itself should have a symbolic death zone. Due to this, the husk like metal structure was left within the North tower, stripped of itâ&#x20AC;&#x2122;s fabric and ropes, occupying its own death zone locked in a transient burial like state. DB /75. Virtual Reality Exhibition As a final output for the project we decided to produce a digital installation that encapsulates different aspects of the last twelve months. The experience itself is planned to be a virtual reality installation which is comprised of different elements and themes the project has focused on. It

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â&#x20AC;&#x153;... a decision had to be made regarding what to do with the Everest Death Zone structure itself. It was decided that as we considered the closing of the exhibition to be the end of the Everest Death Zone installation, the piece itself should have

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a symbolic death zone. Due to this, the husk like metal structure was left within the North tower, stripped of it’s fabric and ropes, occupying its own death zone locked in a transient burial like state.” 253

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will aim to express ideas of isolation and separation that were central to our reading of ‘The Epic of Everest,’ however it will also endeavour to describe elements of our process and sites. The hope of this is that it can be read as a suggestive composition which is both figurative and abstract within the way it represents and embodies the user. DB /76. Virtual Reality - Design Strategy In the weeks following the Scaling the Heights exhibition, the main discussion of our meetings was how, in the design sense, we wanted our VR experience to work. The primary question was what themes we wanted to convey, the second question was how. Like the installation, we wanted to portray themes of death, danger and endeavour, and some of the human emotions connected with these things. Whereas we set out to design the installation based on one drawing and our own research, by this point we had a much greater ‘tool-kit’ of spatial elements to inform our VR experience, for example the multiple iterations of the installation model, the space of the Tyne Bridge tower, and the actual topography of Everest itself, that was available to be downloaded into a VR experience. Through the installations, we had made note of how elements of these spaces helped convey some of the themes we desired - often unexpectedly. For example, the way in which the dramatic space inside the Tyne Bridge Tower conveyed themes of human endeavour, hostile environments and raw atmosphere took us by real surprise, in the way it enhanced exponentially the experience of the EDZ model. We

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therefore decided that the use of this space within the VR experience, along with a computer generated version of the EDZ model and indeed the use of the Epic of Everest film, would all enhance the experience we wanted to generate in VR. JD /77. Technical fog The production of this installation is going to utilise a few software plug ins that we are not familiar with. The first hurdle is trying to achieve a fog or mist effect within the piece. Initial research led us to discover that Unity already has itâ&#x20AC;&#x2122;s own built in fog system, which was originally implemented for view distance culling. Unfortunately this system creates several internal conflicts once used in conjunction with the SteamVR API plug-in, making it unusable. Eventually we discovered a plug-in which is compatible with the SteamVR interface. Initial tests proved that it has a small impact on frame rate which lead to a worry that it may create large GPU draw calls when we begin to use it in an environment with a large polycount, thus dropping the frame rate below the 90fps threshold. If this occurs there is a risk that it may make the user feel uncomfortable due to the large latency between the persons head movement and what is displayed on the VR headset, essentially causing motion sickness. DB /78. Technical view distance and polycount As the installation is going to try to represent at least some of the

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Mount Everest landscape, the scale of the environment may cause some very big issues, mainly connected to our limited ability and knowledge in mesh modelling. Within computer rendering, the issue of view distance has a very large effect on the frame rate of the scene. If the GPU has to render too many polygons within the scene, the frame rate will drop. Due to this, what computer game developers tend to do is to limit what the viewer can see to a particular view distance. Anything over, say, 100m will not be rendered, freeing up more processing power to render everything within the 100m radius. Many technologies allow one to load in a low poly, low detail mesh when far away from the object, then when the player approaches the object, and reaches the appropriate distance, it seamlessly blends into a different, high polygon, high detail mesh in itâ&#x20AC;&#x2122;s place. This allows for a balance between the appropriate visual fidelity and the efficiency of the application you are running. Unfortunately, due to limitations of time and knowledge we are not yet capable of producing such environments, therefore we intend to use a simple skybox solution and attempt to fade the environment out radially from the users position, into an abstracted wire mesh, lowering the need for it to render solid faces or nygon triangles. In addition to this, the volumetric fog will hopefully help in lowering the perceived detail needed in the skybox and environment mesh, further lessening the draw calls needed to run the scene. DB /79. Technical texture

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of this piece will be abstracted and possibly presented in monochrome, we plan on having certain elements that have a more realistic texture or skin to them. One of those we feel would translate well is any one of the material elements of the Everest Death Zone object; rope, fabric and rusted steel. The most difficult one to achieve is the fabric texture due to the difficulty in achieving a realistic model that expresses tensile fabric. The rope and the metal however will probably be relatively easy to achieve using substance painter to apply the relevant texture. The issue will be how we create the UV map on the mesh, as any visible seam on the texture map will look strange. Also, we are still unsure how many divisions the cylindrical elements of the mesh will have as, again, the more divisions means a far greater polygon count, thus lowering the frame rate. DB /80. VR Experience When the user enters the VR experience they will be confronted with a landscape mostly constructed from inverted monochrome geometry. The reason for choosing such a graphical style is to attempt to create an experience which feels like inhabiting a drawing, with all of the abstracted imagery and symbolism that is inherit within architectural representation. Once the user begins to turn their head to familiarise and orientated themselves, they will become aware that the landscape is comprised of three distinct elements. Firstly, the ground plane is built up from a geometrically processed topography of Mount Everest. On either side of the topography sits a fragmented model of the Tyne Bridge exhibition

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space, forming a site specific reference point that is key within the project as a whole. From one side of the Tyne Bridge an enlarged, skewed digital construction of our Everest Death Zone sculpture is projected up towards the peak of the mountain. In doing this, the sculpture is returned to itâ&#x20AC;&#x2122;s conceptual datum point of Malloryâ&#x20AC;&#x2122;s death zone, whilst also making explicit reference to the to the representational narrative that has been created throughout our research. The size of each element is intentionally manipulated to disrupt the users perception of scale, achieving a more disorientating experience in an attempt to reference the dying moments of Mallory and his collaborators. DB /81. End of Linked Research After a year of considering representation within architecture, our research has drawn to a close. The restructuring of the brief had consequences on the initial aims of the second semester of work set by STASUS to shift slightly. This allowed for our research to become more intense in its nature - each stage of the project developed upon the previous part. An exhibition of the Architecture Research Collaborative in Newcastle University Architecture department (Mountains and Megastructures), an exhibition in the North Tower of the Tyne Bridge as part of the Being Human Festival (Scaling the Heights), and a Virtual Reality Exhibition. The VR equipment has been set up within the School for use by all students, an aim which we found to be integral in the continuation of representational development within architecture. This also means that the next cohort of Linked Research

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students have a strong set up to develop and further research â&#x20AC;&#x2DC;beyond representationâ&#x20AC;&#x2122;. This document illustrates the culmination of work produced and the journey undertaken. NW

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Reflective Conclusion - DB At the beginning of this project my ideas regarding representation and itâ&#x20AC;&#x2122;s role within architectural design were heavily centred around the aesthetic considerations of image and style. Whether this was a result of having recently worked within the architectural industry, or whether it reflected a limitation within my own perception of how an architectural notion may be projected, I am unsure. Throughout the course of this project a large variation of mediums, methods and processes techniques have been discussed and produced, both individually and separately, with one overriding intention; to explore, question and propose different ways of representation. The original brief was broadly split up into two parts; the first being a physical installation as part of a larger exhibition, and the second which was intended to be the initial exploration into virtual reality as a form of architectural representation. The first component of the project allowed me to explore film editing and sound production as a generative form of expression, granting me the opportunity to learn certain software that I would otherwise not have the chance to learn. As the project proceeded and we approached the opening date of the Mountains and Megastructures exhibition, we were all tasked with the physical construction of our installation piece. Working on a 1:1 scale with the Everest Death Zone construction is an experience and opportunity that is rarely available within architectural education, and therefore was

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something I found to be extremely interesting and productive. Working directly with a site specific object allowed a direct relationship to develop between author, object and site, forming a dialogue between the three which was an aspect I feel is lost when working via the predominantly digitally focused production of architectural projects. As the Mountains and Megastructures exhibition closed and the project moved forward, the period of time which was originally planned as the VR section of the brief was replaced due to the inclusion of another, larger exhibition, Scaling the Heights. This event was scheduled to be housed within the North tower of the Tyne Bridge in Newcastle, and due to the larger scale of the exhibition, the tasks and relevant rebuilding of our Everest Death Zone installation took the place of the virtual reality research. In retrospect it is a shame we were unable to research and develop our approach to virtual reality to the extent to which we had hoped, however I found the process of organising, setting up and maintaining the exhibition to be extremely rewarding. One aspect which I found to be particularly interesting was that the process of reconstructing the Everest Death Zone installation became an entirely different process to our original version. The site specific nature of the piece was removed and we had to decided how to modify the object in response to the vastly different context that is was now in. I feel this stems from the relationship between author, object and site which I alluded to earlier. On this occasion only the site had changed, however this seemed to have a large impact on the way in which the object

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inhabited the space, was used and was also formed. As a group we did manage to experiment with virtual reality applications. As a first step, we decided to model the Tyne Bridge exhibition space to test how the Everest Death Zone object would sit and inhabit the space. In doing this, the aspect which struck me the most was how powerful the sense of presence and embodiment is within virtual reality. This was a starting point for both my essay, which can be found in this book, and also for my ongoing design thesis. In addition to this, experience of 1:1 interaction with spaces to create installation type experiences is something I find to be an extremely powerful representational tool. As a result, I feel my views on representational methods and approaches have been drastically shifted due to the practical research I undertook, and is something I hope to carry forward and use within my design thesis and beyond. DB

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Reflective Conclusion - JD For me, this project has centred around the space, or void rather, between architectural representation and architecture itself. I say this based on the two mediums we have primarily worked in - Installation and Virtual Reality - being not quite ‘architecture’ in themselves, as they do not for example shelter or ‘function’ in the traditional sense. However, I believe they are certainly both beyond ‘representation’, as they are both spatial in their own right, and do not act as an imitation or precursor to something else. My reflections are broadly split in to two parts; this implications involved in exploring this void, and how I believe this ‘space between’ is valuable and under-exploited within the architectural sphere. For a comprehensive investigation into expanding on conventional architectural representation, it was necessary for us to not only research through reading about the subject, but also researching by design. In being creative, it allowed us as a group to expand our thinking by following our own interests and instincts throughout the project. By using the EDZ as a subject, so rich in its content and possibilities, we had the ideal project to take beyond conventional representation and start to lend the themes spatial and fully architectural qualities. By researching through design, it struck me how more complex and diverse the process of the project came, in comparison to my previous research projects. In having to organise venues and events for our exhibitions, as

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well as ordering expensive equipment and learning complex software for the VR, the work involved is substantial, and therefore has been meticulously recorded and evidenced in this book. This demonstrates the various and at times frustrating and monotonous tasks involved, which are just as valid in investigating and inhabiting the subject we were looking into. The constraints of the spaces, budget and time that we had no doubt shaped the project immensely, sometimes in the restrictive sense, but often acting as a catalyst. The space in the Tyne Bridge tower used in the second exhibition, for example, later informed our final virtual reality environment, its drama and sense of human endeavour in its construction, helping to convey themes of this nature in the virtual experience. Due to the fact that we centred our whole investigation with only the EDZ used as the ‘test’ as it were, we have only begun to scratch the surface in creating new types of space, alluded to in my essay as ‘Approaching Chora’. I am hopeful that more projects within Newcastle’s Architecture school will build on what we have done in future years. One of the main enjoyments and benefits to partaking in this project was the chance to not only design but build something physical at a 1:1 architectural scale, something that is all too rare in architectural education. This experience released new skills within the group, and led to some interesting reflections, particularly in NW’s essay ‘Bridging the Gap’. Projects exploring the in-between of representation and architecture should not only be limited to students of architecture, but

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in my opinion explored within architectural practices, as chances for all levels of practitioner to gain hands on experience of building, and engaging with different themes and ideas than are encountered in most firms. As we found particularly in our second exhibition, projects like these are great for engaging the wider community with architectural ideas; demonstrating that architecture can mean so much more than just the generic buildings they experience every day. Both exhibitions also introduced us to artists and other people in both history and creative spheres, which enabled fascinating discussions which helped inform and expand our research. I was interested in researching VR in this project, partly due to my reservations surrounding it, concerns centred on whether the technology is developed enough to convey a â&#x20AC;&#x2DC;near realityâ&#x20AC;&#x2122; experience, and the ethical implications behind inhabiting such close imitations of reality. What I found most interesting in our project, was that we set out not to create an experience as close to reality as possible, but one that was intentionally abstract, trying to convey complex and intangible concept and themes. I believe that when embracing the virtual and the abstract, virtual reality can unlock an amazing part of its potential, creating virtual environments that architects could hardly dream of creating in reality. Once VR is set up, constraints of space, budget and even the laws of physics are rendered moot by the near infinite and unconstrained possibilities that exist within the creation of a virtual experience. Although we only started to unlock VRâ&#x20AC;&#x2122;s potential in this nature, it is

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no-doubt a fascinating area to explore, for not only game developers and artists to explore, but architects too, as the medium of VR is inherently spatial. Overall, I believe that the further exploration of the gap between architecture and its representation holds near infinite possibilities that can subsequently benefit spatial thinking and making of all kinds. Those exploring this gap should not fear cross-contamination of mediums, for example how we allowed our installation to infiltrate our VR experience, as it can add great richness and help blur lines and boundaries in architecture, reaping exciting new experiences and possibilities in doing so. JD

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Reflective Conclusion - NW The conformities which the majority of students adhere to have always been apparent throughout the school and educational process. The theoretical side of architecture which I rigorously tackled in 5th year opened my mind to the alternatives of this seemingly rigid career path. This being the case, it is always a challenge to break away from the conformity of both the briefs outlines and convention. Fortunately, the premise of the Linked Research module allows for a more unique method of research, teaching, and learning. MOL and JC provided a varied brief; beginning with the development of their ‘Mallory’ drawing into a 3D translation, to be displayed in a symposium, Mountains and Megastructures. The second segment focused on the exploration of representation within the medium of Virtual Reality. STASUS’ research is currently focussed on ‘beyond representation,’ and this overarching theme became the crux of this project. Assisting in the curation of a professional symposium was a highly rewarding process, especially when the main exhibit was designed and built by our group. Aside from the egotistical pleasure gained from this, the sheer amount of work necessary to successfully set up and run an event was eye-opening. There is a large time commitment which increases exponentially when the decision is made to create pieces of work which are not 2D printed images. This element is usually forgotten when considering using a more tangible medium of work.

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The opportunity presented to us in the curation of the Scaling the Heights exhibition was unique and testing. Displaying work in the most iconic landmark of Newcastle allowed for an interaction with the general public which seems to always be the aim in research exhibitions, but rarely achieved. People were genuinely excited to visit the exhibition and were pleasantly surprised with the display of work inside the tower. I gained great reward from this, and learning the untold history of the Tyne Bridge from locals was memorable. Having the chance to delve into the technological side of virtual reality was initial daunting, and to be brutally honest, still is. When first placing the HTC Vive headset on, I was extremely surprised by how excellent the experience was. Presently we are caught in the maelstrom of technological advancement, which doesnâ&#x20AC;&#x2122;t seem to be slowing, causing me to become more cautious when integrating elements into my own representation. By VR being a key aim in the project allowed us to really toy and experiment with this unknown. Working in a group of four provided an interesting dynamic, which was on the whole successfulâ&#x20AC;Ś something which I have never experienced in the past. I am proud of the work produced and the method in which we collaborated. The range of knowledge and skills owned, complimented one another well, but the unexpected component which I found highly motivating was the relationship between student and tutor - This became more of a researching collaborative. This is a scenario which

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I feel is vital to experience as a Masters student for preparation postUniversity. Building models and working with my hands at large scales has been integral in past work, but understanding reasons why this style of representation is necessary gives greater depth. The discoveries generated by this Linked Research module have been far reaching and nicely tie into my thesis, allowing an exploration of representation beyond the orthodox in the coming months, something I am determined to challenge myself with. NW

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Reflective Conclusion - RZ Our installation for our linked research project seeks to explore through practice-based research the representation and recreation of some of the conditions of an expansive, unknowable terrain such as Everest in an installation environment and, additionally, to explore death as a spatial construct such as a craft or vessel. From the feedback we received during the two exhibitions, we can say that the events were successful, the installation shows our ideas and the general public gave a great response to our research. My thinking and physical making ability have expansed significantly through the making of these two exhibitions, I have to say that we did great job on this project. During the process, the four of us co-operated with each other, supported each other with the same goal of making it perfect. Even through sometimes there were misunderstandings between us, we successfully got through the difficult times and solved the problems. However, after this project, I feel that I still need to improve on some parts. I should take more responsibilities instead of sitting at the back letting the other team members do the work some times. Meanwhile, working in a team, I should speak and share more of my thinkings with the team to make the final thing better. I hope next time I could improve particularly on those when collaborating with others.

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Anyway, it was a great experience and honour to work with the other three team members on this project, we did a great job. RZ

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