Pouyan Bizeh - Portfolio of Selected Architecture Works by Pouyan Bizeh

POUYAN BIZEH

PORTFOLIO of

SELECTED WORKS 2016

Pouyan is an architect and designer whose works undergo the confluences of emerging digital technologies and fictional storytelling. He received a bachelor of architecture from IAUCTB School of Art and Architecture in Tehran (2012). He has worked for multiple firms in Tehran including Negin Shahr Ayandeh, where he focused on developing residential and landscape projects. Later on, He persuaded a Master of Architecture in Situated Technologies from University at Buffalo (2016) where he illustrates fictional stories, design products, and innovative platforms via a diverse set of media to address social trends and concerns. His projects respond to a vast number of social, political, and economic trends of the global society by sparking discourses about multiple plausible futures.

WORKS spaceXile................................................................................................................................................................................................................4 Exposed Life..........................................................................................................................................................................................................16 Tehran Image Tower............................................................................................................................................................................................22 Sky Domes............................................................................................................................................................................................................24 Residential Complex............................................................................................................................................................................................30 Weekend House...................................................................................................................................................................................................36 FloatingScrapers...................................................................................................................................................................................................38 Tehran Museum of Digital Arts.............................................................................................................................................................................42

pouyanbizeh.com seyedpou@buffalo.edu pouyan.bizet@yahoo.fr

spaceXile May 2016

spaceXile is a fictional corporate name, established by two corporations, GEO Group and SpaceX in, a post-capital punishment future. The main objective of this company is to send former deathrow inmates to outer space missions in order to keep them separate from society as well as providing free labor for exploration and experiments on human inhabitation in outer space. The prisoners deployed by the company are called astro-prisoners.

More On This Project

spaceXile Brochures

spaceXile Logo

During 80 years from 1788 to 1868, about 164,000 convicts were exiled to Australia on board 806 prison ships. These men and women were often used as penal labor in penal colonies. Some of them never arrived in Australia; others suffered from hunger, thirst, and lack of any form of health security. From the beginning of the so-called “space age,” the promise of space investors was often better conditions for human life. The image of space exploration is adventurous and glorious and it even found its way into our cultural entertainments. The forerunners of space programs consider the human inhabitation of space as the only solution to prevent our species’ extinction. Space exploration and social punishment, though seemingly unrelated,

I: SPONSORED RESEARCH The first act is called Sponsored Research. This act shows a set of events from the perspective of the designer. The idea is that the company spaceXile and its partners are sponsoring a study and work of architecture design for their yet to launch spaceXile MARS program. In this act work of architecture including drawings, models, diagrams and renderings were used as props and the sponsored student represents his work for a committee including the sponsor’s representatives.

share an important property and that is their existence in our images of future. It may possibly bring them into a common ground. Thinking about fictional scenarios of punishment in the context of outer space inhabitation emerges serious issues and problems that should be projected and addressed not merely from a problem-solving point of view but from a provoking one. In order to manage and organize the reference frames that are coming from different perspectives, I divided the performance into three different acts. In the next chapter, these three acts are ordered in the same order that they were presented during the final performance of the project. This is not necessarily the chronological order of events that are being portrayed.

II: REALITY TELEVISION The second act is called Reality Television and it focuses on conditions and issues of astroprisoners. In this act, I use scenery and situations designed in the first act to perform scenes of an imaginary reality television show that portrays the life of astro-prisoners on Mars.

III: COLONIZATION The final act is called Colonization. In this act, I focus on the perspective of authority. This act includes a short talk by the imaginary company CEO, George Musk, with company investors in which he defends the feasibility and morality of the company objectives and announces the date for the first mars mission launch. This act questions the morality of outer space imprisonment.

I: SPONSORED RESEARCH spaceXile MARS

spaceXile MARS spaceXile MARS Free Settling Units

Site Selection

10µm

spaceXile RV-120

Free Settlers will be able to combine units in order to achieve their desired formation.

10cm

Dust

Martian Soil

Rock

This Diagram Showing the quality of Martian Soil. The spectrum is what RV-120 Will look for in the Area.

Larger Module (DM-07)

The area that RV-120 will scout as a process to chose a landing destination for the first mission.

spaceXile MARS

Alternative Formations (Free Only)

Adhesive Material

spaceXile MARS spaceXile MARS Camp Formation

Martian Soil and Sand

Super-adobe

Multiple unit formation possibility

era

Sup

~7” VELCRO ®

Cell

8”

Cell

Velcro-Adobe System

Sand Bags

Main Stream

Martian Soil

Dust Isolation Material Sheets

Waste Control

Supply

Greenhouse

Filled-in Soil

Isolation Material Sheets

spaceXile™ MARS Pouyan Bizeh

Tamped Soil

Construction Detail Section

spaceXile MARS spaceXile MARS Construction Process

Site Plan and Possible Formation

Martian Soil and Sand

Adhesive Material

spaceXile MARS Camp Formation

Ground should be dug to resist lateral sheer.

Removing the soil 3’ deep.

Digging and Tamping will take approximately a month.

spaceXile™ MARS Pouyan Bizeh

Fill soil back.

Camp Schematic Plan

S spaceXile MARS spaceXile MARS Program Time-line

rad

e up

a eS

Erecting the main structure will take up to 5 months.

spaceXile MARS Camp Formation

PV Panels

TEAM 3

TEAM 1

TEAM 2

Greenhouse

Main Stream

Airlock

Cell

Free Settlers

~7”

Free Settlers

VELCRO ® Cell

THIRD MISSION

SECOND MISSION

HABITAT UNITS

FLIGHT DURATION

{

Section A

Cell

Main Stream

Supply Room

Airlock

PV Panels

Astro-Prisoners TEAM 1- Astroprisoners

Section B

Free Settlers

spaceXile MARS spaceXile MARS Cell Design

spaceXile MARS spaceXile MARS Aeroponics System

Glass Protector Rock-wool holes

Superadobe Dome Hygiene and Waste Control

Inflatable Shell

Sleeping Area Work Desk Supply Storage Food Preparation Air Lock Module

Seed Generator Machine (GSSG-08)

Thermal Tower (TW-233)

Base Structure

8”

Crops growing in the thermal tower

Cell Interior

Final Show Boards

Velcro-adobe System

TEAM 3

TEAM 1

TEAM 2

Free Settlers

spaceXile MARS

Martian Soil and Sand

THIRD MISSION

b do

THIRD MISSION

Adhesive Material

SECOND MISSION

HABITAT UNITS

{

Super-adobe

FLIGHT DURATION

Free Settlers

~7” VELCRO ®

Astro-Prisoners TEAM 1- Astroprisoners

spaceXile MARS spaceXile MARS 28” ~ Cell Design

Free Settlers Velcro-Adobe System

spaceXile MARS spaceXile MARS Free Settling Units Superadobe Dome Hygiene and Waste Control

Program Timeline

Sleeping Area Work Desk

Superadobe Dome Hygiene and Waste Control Sleeping Area

Sand Bags

Supply Storage Food Preparation

Martian Soil

Air Lock Module

Work Desk Supply Storage Food Preparation Air Lock Module

Dust Isolation Material Sheets

Filled-in Soil Larger Module (DM-07)

Cell Interior

Isolation Material Sheets

Tamped Soil

spaceXile™ MARS Pouyan Bizeh

Construction Detail Section

In order to maintain control over the food chain in the camps, a seed printing mechanism is deployed. The crops that are planning to be grown in the aeroponics thermal towers would be scanned on earth for their genetic material. This may include any mutated or genetically modified crops as well. Then the encrypted genetic code will be sent to the camps on Mars.

Glass Protector Rock-wool holes

SEED PRINTING MACHINE

Seed Generator Machine (GSSG-08)

Seed Generation Diagram

Thermal Tower (TW-233)

Crops growing in the thermal tower

Heath Tower

Greenhouse spaceXileâ&#x201E;˘ MARS

spaceXile MARS Camp Formation

PV Panels

Greenhouse

Main Stream

Airlock

Cell

Section A

Cell

Main Stream Main Stream

Supply Room Supply Room Airlock Airlock

PV Panels

Section Through Colony Section B

After designing the elements of a Martian camp for astro-prisoners, connection spaces are needed in order to maintain access to different modules by the crew. For this purpose, a central corridor is proposed with connection to all the modules and units. This mainstream will not only give access to astro-prisoners but will also open the camp for further possible expansion. Some of these expansions may be occupied by further free settlers that decided to live on mars. Prior to the construction of habitation units, astro-prisoners will construct the central corridor using Velcro-adobe and place the airlock modules

where needed. Then they will build the solitary cells as well as a supply room and the greenhouse. In order to control the astro-prisoners and apply tasks, oxygen control mechanisms will be deployed. Any controlled environment can be remotely locked and pressurized by ground control. This means that the company can force astro-prisoners to be in a certain environment at a certain time. Since these controlled environments also include space suits and helmets, the company can enforce the tasks that occur outside the camp area.

Construction Process Construction includes the proposing of the process of building Velcro-adobe structures on mars. The steps include: digging the ground, placing airlocks and an Isolation bag, erecting the structure, and inflating the bag.

Camp Plans

II: REALITY TELEVISION

As a part of its revenue, spaceXile will air a reality television show of astroprisonerâ&#x20AC;&#x2122;s life partnering Discovery Channel. A mock Discovery channel series trailer was created to increase the plausibility of the scenes. It suggests the sponsorship of the media corporation to produce the reality television show and air it. In this section, I speculated upon the images and events of this television

show. In this process, some of the spaces and events were chosen to portray the life of astro-prisoners. In each section, astro-prisoners encounter the situations that are projected during the design phase. In order to make these speculative videos, I reproduce the sceneries and then act through each section.

These short clips focus on the relationship between astro-prisoners and guards, whether they are in the form of a computer or an artificial intelligent agent called “Daisy”. They show the practice of control over the astro-prisoners to highlight the issue of incarceration in outer space.

Discovery Channel Series Trailer FADE IN

We need to collect rocks with high calcium content.

INT. TOILETE BOOTH

ASTROPRISONER

ASTROPRISONER M134 enters the booth. He rotates and looks at the screen above his head. Screen blinks “Tap to Start!” He touches the screen. A list of astro-prisoners appear. He chooses his name. Screen shows loading. Screen shows “Pick up the funnel”. He picks up the funnel. Screen shows options “1” and “2”. He taps on “1”. He puts the funnel on himself and start urinating. Screen plays an advertisement. He finishes urinating and taps on the screen. Screen shows loading. Screen shows “Thank you!” He puts the funnel back. Screen shows his diet information. He taps on screen. Screen blinks “Tap to Start!” he exits the booth gently.

So what do you want me to do? DAISY I want you to show me pieces of rocks in this area. And we are behind today’s schedule. We should move faster. ASTROPRISONER Yes, I think my O2 level isHe coughs.

FADE TO:

DAISY But we have just enough supply to finish this mission.

FADE IN

ASTROPRISONER

INT. HYGIENE BOOTH

So you don’t want to abort the mission. Do you?

ASTROPRISONER M112 enters the booth and turns. He picks up a gas mask and wears it. He adjusts and tightens the mask. The glass door of the booth shuts and turns to a screen. Screen shows “Tap to Start”. Screen asks if he wants to begin cleaning cycle. He taps on “YES”. He closes his eyes and breath deep. Gas emits in the booth. FADE TO:

DAISY Not at all! ASTROPRISONER OK! He looks around for appropriate rocks. He picks a rock up and show it to his helmet. DAISY

FADE IN:

This rock contains %60 iron. Isn’t it obvious?

EXT. MARS SURFACE – DAY ASTROPRISONER M186 is walking on Mars with his helmet on. His AI guard, DAISY is assisting him. (Camera POV, inside the helmet) DAISY (V.O.) I guess you arrived to the position. ASTROPRISONER (O.S.) Yeah, I think so. DAISY

He puts the rock back on the ground. DAISY Look, I really want you to concentrate. He moves towards a new rock and picks it up. He is deep breathing. ASTROPRISONER What about this one? DAISY

This one looks appropriate. He puts the rock sample. He is deep breathing. The oxygen is running out. DAISY You should stop deep breathing. ASTROPRISONER I really can’t. Can we abort the mission now? DAISY No! He coughs so hard. He falls on his knees. He falls on the ground with his helmet. DAISY Daisy to mission control! Mission Control do you read? MISSION CONTROL Affirmative! DAISY We have a situation in 425267. FADE TO:

III: COLONIZATION

This act begins with an announcement of a conference in which imaginary company CEO George Musk is delivering a short speech. The speech puts the audience in the place of imaginary investors of the company. Through this process, the project asks a personal question from the audience: “to what extent they can see themselves being involved in the story?” Right after the end of the speech a recorded voice is heard. In this recorded voice the astroprisoner “Danny Sitzer” talks to the audience. In order to increase empathy with the character, he has been given a name. His language also represents a less educated personality.

Suicide Scene Instalation

INT. CONFERENCE AUDITORIUM conference auditorium

So with that saying, I’ll leave you. Enjoy the night! Good evening everyone!

GEORGE Musk approaches the scene. GEORGE Hello! Hello everyone! Thank you so much for joining us tonight. Thank you so much! I’m not gonna ruin the night for anyone. It’ll be a very short talk and a tiny surprise. So… the whole spaceXile project began with a very fundamental question. The question was “Do we really want our children to live in a society with all these criminals and felons going around?” I’m pretty sure our answers are all NO. What makes spaceXile so different is our approach to this “no”. Our approach was different and our approach is problem solving. Let’s take a look at some numbers.

CUT TO: INT. HABITATION UNIT DANNY Sitzer picks up his recorder and press record. DANNY My name is Danny Sitzer and I have a Message for you. Don’t actually think this company will ever let anyone know exactly what the hell is going on up here and I’m sure [...] they won’t let you hear this tape either. But I don’t give a f***! Our situation here is awful. We have no voice! They’re controlling whatever you see on TV or hear in the news. And it’s all bul***! They once cut off camp three on seeds and they were starving for ten f*** sols. Can you believe that?! You can never believe what’s happening here. You have no idea. They won’t even let us kill ourselves. There’s nothing we can do. We should go out every day collecting rock samples, Working on those goddamn greenhouses, or building modules for those f*** free a***. You know what? I don’t give a f*** anymore! Today I’m gonna finish this sh*** for all of us. Hacked into my helmet, Turns out I can get it off Next time I get outta that f*** airlock, I’m gonna blow it up. They would never have expected that. Hope you’re all OK with watching a man die a slow death, trying to get a final breath of fresh air! See you all tomorrow on TV guys.

He points to the monitor behind him to begin his slides. This is the number of actual incarcerated Americans. Two million, two hundred twenty thousand and three hundred Americans, individual Americans are now in prison. It’s a huge number. Don’t get me wrong! I don’t care for these people. I do care about the amount of money we’re spending on them. This is the money that American tax payers are spending for imprisonment per year. That is the actual NASA annual budget for this year. So you can see. That’s why. With the decrees of the annual budget of NASA year after year you will see private companies that by the way we are partnering with are coming to play. And, they’re doing really good things. But they’re not that powerful. From 2002 to 2012 they raise only a billion dollar. And if you’re in space industry, you know this doesn’t count that much. But they did so much with the money they had. So we thought why can’t we bring more stakes to this industry? What can we do with more money? With our goal being mars, this is the money that we need. And this is the money that we raised so far. We are not going to fill this gap. Why? Because we know that we have promised funds that if we doing well, that by the way we are, we can get our hands on. Based on the numbers that you saw we set our goal to send our astro-prisoners to mars on… 2032.

Audience applauds.

FADE OUT. CREDITS. END.

Exposed Life August 2014

Exposed life proposed a center for media art collaborations with regards to improving interdisciplinary work between deferent fields of design and creative arts. The building consists of open spaces and living spaces. It allows users to live and work simultaneously while in the building. It locates in Enghelab Avenue, the neighborhood best known for its art galleries and art schools.

More On This Project

From the beginning of the industrial revolution and spread of mass production in the 18th century, factories entered the construction cycle as a place provided for mass production of industrial goods. In the middle of 20th-century, artists increased the amount of their artifacts using the processes of mechanical reproduction. It was in this era that media of reproduction became the center of attention for media theorists. Like factories that operated as social seeds for the economy, exposed life meant to function so for its surrounding urban environment. Some artists (like Andy Warhol) named their studios, factories. Some others get the abandoned factories as a place to show case their artifacts. Exposed life tries to resemble a factory building by open spaces that are provided in between servant levels. These free spaces can change their use according to further modifications by their residents. Artists can also live in the habitat spaces provided by the building. Accessories like fabrication, print, computer labs, etc. Are provided in order to maximize the time artists have to work.

Black Box

Servant Level

Open Space

Servant Level

Seminar Room

Open Space

Servant Level

Lobby

Section A

Servant/Dorm Levels

Free Spaces

Elevations

Ground Floor Plan

Mezzanine Floor Plan

Fifth Floor Plan

First Floor Plan

Third Floor Plan

Sixth Floor Plan

Second Floor Plan

Fourth Floor Plan

Roof Plan

Tehran Image Tower August 2011

The Idea of a giant four-sided billboard began with observing the urban environmental advertisings. Advertising in the recent economics of Tehran is turned to a non-negligible part of everyday life. The corporate profits skyrocket after they advertise their products on billboards in crowded areas. The bigger the billboard, the company can show off more of its products. This trend of consumers favoring products with more advertisement increases the demand for advertising area in the city. Team Members: Mahan Mehrvarz, Delaram Zarnegar and Setareh Sedghi

More On This Project

While this trend occurs quite recently in Tehran, we can follow the same phenomenon in western major cities like New York. Times Square located in Manhattan is an example of the urban spatial environment in favor of advertising. The area of displayers is not bound to any rules or significant regulations. The parameter that limits the construction of bigger displayers is the cost of constructing one. Tehran Image Tower suggests a new source of revenues for an urban billboard that will ultimately push the area of the billboard to its maximum. This revenue will come from spaces existing inside four giant billboards. Considering that the billboards are forming a sky scrapper at this moment, what limits their size is the technological difficulties of building high-rise structures. Tehran Image Tower not only does open a massive possibility for advertisement design but also creates a platform that can be used for other creative purposes. It can start to dialogue with citizens and urban spaces as well as perform as a huge blank canvas.

Sky Domes June 2012

If one rises to the height of Manhattan skyline, Sky Domes can open a dialogue box between Manhattan and Fresh Kills park. For the people in sky-scrappers, the park will be a visual background for the high-rise Manhattan. On the other hand, for viewers inside the park, the towers will play the same role. Sky Domes are clustered to make a wind farm. When the Sky Domes landed on the ground we will have a Land Art Generator Initiative (LAGI). Team Members: Iman Amini, Delaram Zarnegar, Alireza Houbakht, Setareh Sedghi,Amin Amini

More On This Project

In 2012, Fresh Kills Landfill site, located in Staten Island, NYC, was the site for Land Art Generator Initiative (LAGI) design competition. The objective of the project was to design land art project with regards to renewable energy. In comparison to Manhattan, another New York City borough, Staten Island lacks high-rise urban monuments. When looking towards Manhattan, the urban landscape provides a unique background. This is the feature that is missing in a view from lower Manhattan to Staten Island. Via using flying, colorful turbines, Sky Domes help to provide this quality for the city as well as helping the Fresh Kills site to function as an urban gathering site. Each Sky Dome approximately has 20 lens wind turbines; therefore, with 50 Sky Domes, we would have a wind farm with a capacity of 100 MW. It can supply 50,000 housesâ&#x20AC;&#x2122; electricity consumption. The Sky Domes will fly like a kite in the sky by wind power and it is controllable via its lens wind turbines. As the wind blows it turns the rotor and generates electricity. The lens wind turbines also can change the pitch of their blades to land or take off.

Process Diagram

Fresh Kills Park in New York City

Fresh Kills Park

Wind Rose

Schematic Plan

Residential Complex July 2012

One of the main problems while living in Residential complexes is that you can not mention where your own HOME is when you are out. There is some kind of identity problem in the facade of such projects. This project offers a unitbased system which gathers duplexes around a main, central atrium in a way the residents can use the public spaces such as a runway, children parks, etc. Units are all the same, though because they are separated, future changes can be made to personalize a home for its owners and solve the mentioned problem. Now they can show their unique home by their fingertips even when they are out of the project.

More On This Project

The Residential Complex located in northern Tehran tries to deal with a paradox of identity in housing complexes. While the price of real estate is extremely high in the neighborhood, the quality of apartments is relatively low. There is a major problem to increase the living quality. Homeowners cannot point to where their house really is. They simply can’t own the visual properties to indicate their property. If one tries to design visual differences to identify different parts of the building, the cost of design and construction will dramatically increase. This increase of the cost comes from disobeying mass production. This project modulates duplex residential blocks into window shaped concrete boxes, the result of which is a decrease in construction cost. This efficiency will allow the designer to place multiple green and public spaces in between the blocks. This strategy will also provide an illusion of uniqueness since everyone can point to their own piece of property. Residents can also later modify interior colors to personalize their homes. The project also provides a huge glass atrium that separates inside from outside and creates a micro-climate. Humidity will be controlled by an artificial falling water inside the atrium and temperature will be controlled by the greenhouse effect and the chimney effect during winter and summer relatively. The atrium is regarded as a giant greenhouse that would conceptually mean home to residents for which their houses are windows.

Process Diagrams

“ I live in a very big WINDOW but my HOUSE looks out/ IN on a very LARGE/ SMALL WORLD. ” 1

Winter

Summer

Central Atrium

Residential Units Cycling Ramp Residential Duplex Units

Connections

Vertical Connections Main Structure

Shading Louvers

Artificial Falling Water

Section A

Underground Floor Plan

Ground Floor Plan

Third Floor Plan

Plans Of Residential Duplex Units (RDU); Living floor and Sleeping floor

Roof Plan

Weekend House January 2010

Spending a weekend in the countryside is gaining more popularity with the growth of urban population in Tehran. This fact increased the demand for design of what is called commonly as â&#x20AC;&#x153;villaâ&#x20AC;?. These villas are locating in usually big parcels of land and have almost no visual connections with their neighbors. This caused the change in outer material choice. Whereas large openings are a violation of building codes of Tehran, in the countryside the opening sizes are unlimited.

More On This Project

Instead of having doors as thresholds between different spaces, this project suggests a system of moving paths to block the visual but at the same time gives a sense of unity to the whole space. The house managed to host a family of four during weekends and does not manage to be habitable for longer periods of time.

Floor Plan

Section A

FloatingScrapers December 2011

FloatingScrapers proposes shading over Lake Orumiyeh as a fictional means to cover it from evaporation. The solution, though seems unrealistic in the beginning, can be elaborated using deferent design strategic methods. The project will be able to improve tourism in the area as well as function as an incredible hotel. The basic idea of a plumb-bob helped the towers to settle on the lake. Team Members: Iman Amini, Delaram Zarnegar and Alireza Houbakht

More On This Project

Lake Orumiyeh (also Orumieh or Urmia) in northwestern Iran is one of the world’s largest landlocked salt lakes. In recent years, the lake shrinks to an enormous extent. Orumiyeh is fed by roughly 60 rivers and streams—some permanent and some ephemeral—that also deliver salts to the lake. Because the lake lacks an outlet, those salts accumulate in the basin. As the region’s arid climate evaporates the water, the salts crystallize along the shore. The Thematic Mapper on the Landsat 5 satellite (NASA Earth Observatory) captured these natural-color images of Lake Orumiyeh on August 13, 2011 (right), and August 25, 1998 (left). The most obvious difference between the two images concerns the rocky outcrop near the image center. In 1998, it is an island. In 2011, it is surrounded by dry land. Satellite observations of Orumiyeh’s surface levels show an overall decline of about 4 meters between 1992 and 2011, with an increase in water levels in the mid-90s. FloatingScrapers proposes shading over Lake Orumiyeh as a fictional means to cover it from evaporation. The solution, though seems unrealistic in the beginning, can be elaborated using deferent design strategic methods. The project will be able to improve tourism in the area as well as function as an incredible hotel. The basic idea of a plumb-bob helped the towers to settle on the lake.

Satellite Photo, 1998 (left) and, 2011 (right)

Main Strategy Diagrams

Deck Pattern Design

Schematic Section

Different Types of Cells

Tehran Museum of Digital Arts July 2011

The Museum of Digital Arts extended to Tehran Museum of Contemporary Arts, is nothing more than a porous wall that holds a free space in between where art works can be shown to the public. The building functions as visual background to the main building and its open structure allow new works of media arts and digital arts to be well represented.

More On This Project

While it is not only common but also popular for city authorities to expand an existing masterpiece, Iranian authorities did never pay enough attention to such projects. Despite its weak probability being constructed, the proposal of a new extension to well-known Tehran Museum of Contemporary Arts, Designed by Iranian famous architect Kamran Diba, may help to open further negotiations between architectsâ&#x20AC;&#x2122; society and urban and cultural authorities. The extension tries to address the new, digital distribution forms. The form of the museum resembles a giant server rack. While information exists non-physically in the server, the museum of Digital Arts suggests that images of information that is stored can be projected inside the physical space of the server. The suitable forms of this image projection are Holography and augmented reality. Both of these methods can open new design opportunities for the artists. Long decks and voids in the project help facilitate the access to different parts of the space.

PORT PORT DATA DATA

OPENING VIEW VIEW OPENING

PORT PORT PORT PORT

DATA DATA

OPENING OPENINGVIEW VIEW

DATA DATA OPENING VIEW VIEW OPENING

PORT PORT PORT PORT

DATA DATA

OPENING OPENINGVIEW VIEW

DATA DATA

PORT PORT

Server/Port/Data

DATA DATA

OPENING OPENINGVIEW VIEW OPENING VIEW VIEW OPENING

Museum/Opening/View

Conceptual Poster

Section A

Holography as a Method of representation

Underground Floor Plan

Exploded Diagram

Ground Floor Plan

1st Floor Plan

2nd Floor Plan

3rd Floor Plan