Leech Gareth by Research Led Design an Major Study Oxford Brookes

The Carceral Eden

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The Carceral Eden

Declaration of Authenticity

A Major Study presented to the Department of Architecture, Oxford Brookes University in part fulfilment of the regulations for the Diploma in Architecture.

Statement of Originality

This Major Study is an original piece of work which is made available for copying with permission of the Head of Department of Architecture.

Signed

Gareth Leech

Acknowledgements

To my friends, who would gladly send me into Space (I am sure) if it would sooner stop me from discussing its possibilities for architecture and the built environment.

To my family, who are there for me whatever the time of day.

To my tutors, who help guide the answer; however ridiculous the question.

And to those pioneers; past, present and future

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Contents

............................................................................. Terminologies 11 ............................................................................. ............................................................................................................................................. Preface 20 ............................................................................................................................................. ............................................................................................................................................. Mission Statement 25 ............................................................................................................................................. ........................................................................................................................... The Architectural Debate 27 ........................................................................................................................... ..................................................................... Introduction 31 ..................................................................... ............................................................................ ..37 ..... Part 1 ............................................................................ ..... ............................................................................ . ................................................................ The Race: space in Space 39 ............................................................................ . ................................................................ ............................................................................ . ................................................................ Fathoming Space 45 ............................................................................ . ................................................................ ............................................................................ . ................................................... Enter; Human 53 ............................................................................ ....................................................

...................................................................................... Part 2 83 ...................................................................................... ............................................................................................................................................ Architectural Vehicles 85 ............................................................................................................................................ ............................................................................................................................................ The Carceral Eden 99 ............................................................................................................................................ .................................................................................................................................... [The Sky’s] Infinity’s The Limit 107 .................................................................................................................................... ............................................................................................. Part 3 121 ............................................................................................. ............................................................................................................................................ The Affi nity Towards the Blue Marble 123 ............................................................................................................................................ ............................................................................................................................................ Outward Glancing 131 ............................................................................................................................................ ........................................................................................................................................... Inward Dreaming 139 ........................................................................................................................................... ..................................................................................... The Space Utopian Vision 173 ..................................................................................... .................................................................................................. In Conclusion 187 .................................................................................................. .................................................................................................. Table of Images 221 .................................................................................................. ............................................................................................................................................ Bibliography 227 ............................................................................................................................................ Appendix

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Terminologies

Throughout this paper many different terminologies, acronyms and abbreviations may be used to distinguish between the different environments between the Earth, and what is commonly known as Space. The differentiation of these is very important in understanding the text.

It is important to define 'Better' (as mentioned in the title) early on. It has been reported that "Spacecraft should be designed with the idea that it will be used by man." (Bluth BJ & Helppie M, 1987, p.9) implicating current Spacecraft design being inadequate for human comfort. Of course, this is qualitative and this will be criticised and appraised throughout this paper. ..................................... ........................................... Throughout the paper I will consider a difference between 'Living' & 'Dwelling' and 'Surviving' & 'Occupying' Space. Of course, instantly it is almost obvious that there is a difference, but I should explain that the two formers refer to a certain comfort of Space Occupancy that is very different to a just simply 'Occupying Space'. The latter, I feel refers to what Astronauts and Cosmonauts currently resort to. They survive in conditions that are not usually associated with comfortable living, and as such, the Space Vehicles that house these people help them to 'Survive' and 'Occupy' Space.

Here it would be appropriate to note that the Space Modules (as mentioned above) are all fantastically named; inspired by ‘Frontier’ names helped to provoke the attitude of pioneering: Mir, to mean Peace or World Salyut, to mean Salute or Fireworks Kibo, to mean Hope Tiangong, to mean Heavenly Palace And obviously, we have the American ‘Freedom’ and European ‘Columbus’ which both relate to historical and political philosophies surrounding the Nation’s achievements. ..................................... ........................................... Our Sun, The Sun. Of course, there are million’s of ‘Suns’ in our Galaxy alone. Handy isn’t it then, that we have named our Sun, ‘Sol’ to help distinguish it from the rest? It has to be noted that, 'infinity' could be considered as 'Space', as Space could be to Infinity.

A mm3 of space represents both the infinite and the beginning of the infinite, capturing the absence of something in a volume of immeasurable proportions of time, space and size. ..................................... ...........................................

The ISS (International Space Station), A Space Station permanently positioned in orbit around the Earth. The Station comprises of The Japanese Kibo Laboratory, the Russian Mir-2, The American Freedom, and the European Columbus. It is maintained at an orbit of 275 kilometres in altitude. ..................................... ........................................... NASA, stands for: National Aeronautics and Space Administration. It's motto: "For the benefit of all". And its mission statement: "To pioneer the future in space exploration, scientific discovery and aeronautics research."

This paper explored the Frontier of Space Architecture, with the examination of the Frontiers that have been it is helpful to explain how the word is used throughout the paper.

To Frontier, as the dictionary describes it; "The land or territory that forms the furthest extent of a country's settled or inhabited regions." (Dictionary Reference, 2011.b) It is not too farfetched to believed that the exploration and colonisation of Space is a global endeavour, and as such, the Frontier throughout this paper defines itself as anyplace that has not been populated by the human race.

As far as we are aware, no human has previously left our planet before Yuri Gagarin's intrepid human flight and first ever human orbit in Space in 1961, and so therefore, our Human Frontier is Space. Frontier may (in this paper) also be described as the boundary between the normal and the 'considered abnormal'. Space Architecture in this case shall be considered as the abnormal and therefore this Frontier will be used throughout.

Preface

This project begins back in July 2010 when I discovered (in an effort to keep myself occupied through the lack of architectural work) a competition hosted by the magazine; SHIFTboston. The Boston based company released the exciting opportunity to design a Lunar Colony.

The prospect of realistically combining my passion for architecture and for Space was too large to ignore and that evening I had several [large] sketches imagining this extra terrestrial world.

I look back now (see Fig's 03 & 04) disappointed. Did I really come up with an interesting and inspiring architecture? Or, actually, did I imagine within the confines of the United Kingdom's limited and [quite frankly] dislocated attitude towards Space exploration?

Regardless of design, I continued this research using the last year (2010) in my studies to understand the 'Space Vernacular' through the understanding of my Father and Grandfather. The subject developed and here I am today, writing on the subject once again, with a certain anticipation, I might add, to inspire and prove that Space exploration is not just going to halt at the Astronaut and Cosmonaut pioneers we look toward to leading us into the future of Space pioneering. In my previous study, I started by discussing my beginning interest in Space being through the

The "Frontier" is what has inspired this work, these pioneers are leading the human race into a new revolution. Just as Leif Ericson (the first Pioneer to reach the Americas) was to both Neil Armstrong and Buzz Aldrin; Christopher Columbus will be to the current Astronauts and Cosmonauts who currently permanently inhabit such Space Stations such as the ISS, and before this MIR, Salyut and Skylab.

This Frontier is tested all the time with space exploration and flight reported in the news on a daily basis currently feeding ours minds with possibilities and hope of a united Earth investigating extra orbital manned vehicles. It may well be a long time off before Gerard O'Neill's dreams are realised - but there is no harm questioning and developing what seems almost to be inevitable.

Mission Statement

"...To Seek out new life, and new civilisations..." As explained by Patrick Stewart in 'Star Trek: The Next Generation' may be a little too forward thinking for the moment, but colonising Space (and not just inhabiting it) are first steps into exploring deeper, further and more successfully.

The 'Mission Statement' however, does try to answer such a large question. The mission (and I do wish to accept it) will be to embark on an architectural journey, pioneering a change that design is not restricted to Earth's gravity - the questioning of 'roof meets wall meets floor' is stronger than ever before.

As architects, we question our purpose. It is interesting in the current economic downturn how this profession tries valiantly (or perhaps not) to adapt and mould to fit into society to survive. Does the profession try hard enough is a large question.

Architects throughout time strive for design and of social perfection; Utopia's of all shapes, sizes and designs fill history with a grand nostalgia and precedent but however each scheme may be different, the Earth in all its glory remains constant. Our "blue marble" (as Neil Armstrong so poetically calls it) remains the focal point, the scalable entity in every previous and possibly every future conceptual image we may see today. What if the human were the scale? What if human's were the focal point - an anthropomorphically orientated design instead of the immeasurable incomprehensible megastructure that has little to do with sustaining 'living' and only to do with sustaining 'life'

The Architectural Debate

As Professor Brian Cox said; “Astronomy was the first science” (2012) a science that has been inspired art, noted in poem, created theory and has written religion. History has taught humans to exercise their curiosity with increasing expertise, technologies allowing deeper knowledge into the unknown. As one scientist may gaze into a microscope another pears through a telescope: “...microscopes enlarge small objects while telescopes bring distant objects closer.” (Di Palma V., (2008) pp.250-251)

The more interesting irony behind Palma’s quote is not that both objects can be perceived to scale into existence, but actually both scientists work towards the goal of understanding objects outside of the human scale.

Mathematical scale is a relationship that architects must consider within every project, every design, little often is it challenged. Whatever the scale, the human scale must be considered. Within the construct, the Earth’s geology, topography are transposed into ‘sites’ from which boundaries confine the design of a space. But when these confines, parameters and are removed, the scale becomes lost; the human scale becomes lost. As Di Palma further write; “...once we are in the realm of images, questions of space - of near or far - come supplanted by issues of scale.” ((2008) p.255); it is without such an anchoring of a person (at first), or a car, then a road, maybe a building, perhaps a large lake, an airport, a well known geological feature then coastline, island and finally sea and ocean that we begin (or already have done so) lose understand of size Size and scale help humans define ... Everything.

all the space provided creating a true conundrum; or at least opportunity to utilise all dimensions; three dimensions.

Our buildings and cities become ever larger, our homes and workplaces become ever smaller, restricted by economy and available space; but didnâ&#x20AC;&#x2122;t I just say that builders were becoming bigger?

This is why research into Space Architecture is a supporting research field to our built environment here on Earth. Understanding our limits, or indeed going beyond them is what inspires progress. It is easy to forget what progress is for, architecture sometimes forgets that is for Humans and not solely for art because it pushes these boundaries.

Through forgetting the scale of buildings, or geology, or natural formation, or even of islands and seas, and even the planet Earth; but remembering the human scale we can hope to provide suitable space for those that constructed space was intended. Often architecture is thought of a three dimensional endeavour; architects build real objects in a real world; ironically often using two dimensional means to design and present their work. This seems almost bizarre until one tries designing for a truly three dimensional space; Space. While on Earth we use very little of the space constructed around us, in Space, one may occupy

Bringing humans and their scale back into the centre of the design process aids in providing successful projects not just in Space but for space. ..................................... ........................................... Research conducted as a consequence of Space exploration can help us also to understand our own planet, what we are doing to our atmosphere and how we might correct the problems that are occurring today. Climate change has been a controversial subject

Recently, NASA has started taking this research further and has started exploring other planets’ atmospheres:

“... “[Venus] used to be like Earth so there is a lot of lessons for us to learn from it”. ... “It was thought that Venus was very much like earth several billion years ago – why did it go down its path of overheating, ... It is now 98 per cent carbon dioxide in the atmosphere. Is earth heading in that direction?” Being able to observe and research beyond our own planet’s atmosphere gives us better knowledge into technologies and developments helping to better not only science but also design; not just aesthetic design, but also practical design. One example of perfect manufacture of products is that of lenses. In Space, according to Henry SF Cooper, Jr., the manufacture of lenses becomes

increasingly more accurate or perfect and that “Perfect Lenses would have great value on earth, where gravity makes them sag during production.” (p.67, Cooper SF H., 1976). Similarly, the heating, mixing and cooling of metals becomes ever more perfect in Space, according to Cooper. Or indeed, convectional air mixing does not take place in weightless environments and warm and cold air do not readily replace one another as here on Earth.

Continual experiments were conducted throughout the time of SkyLab, over three crews, each crew becoming less obedient than the last. The stress, coupled with the complacency of the ‘ground crew’ caused personal and psychological problems; Indeed, if being aboard a marooned vessel is not psychologically damaging enough, the environment one has to work with can also inflict despair and rebelliousness.

Introduction

I enter into this project well aware of the scepticism of many (the majority in fact) not believing in the worth of the Space Programs that continue around us. One reason for the scepticism following the Space Programme the public are constantly let-down; as the "Design of Internal Support Structures for an Inflatable Lunar Habitat" Document (1990) iterates: "The Lunar Outpost mission comprises of three phases: emplacement, consolidation, utilization. The emplacement phase to be completed by the year 2003..." (Cameron EA., et al. 1990, p.12) It seems that sceptics have absolute reason to their pessimism [realism]. Continuously (with the exception of a few example; the promise and accomplishment of the Americas being the first to land on the moon in 1969) the Space Programs fail to deliver.

Space (with a capitalised 'S') would seem to be the 'next frontier' where Human's have yet to lay permanent settlements, cultivate land, and explore vast new undiscovered realms. Of course, in order to do so, synthetic incarceral islands must first be realised. Suburban and Urban growth, here on Earth are non-restrained by the complexities of climate. Jason Griffiths ((2011), p.3) explains that "...the most immediately apparent of suburbia's characteristics is the absence of any constraint to its outer limits." Our growth is almost unconsidered, Humans may very easily purchase land, ignorant of natural inhabitants and resources to generate a new or augmented dynasties.

Once we have exhausted growth here on our Earth, humans will undoubtedly take Space colonisation more seriously. In fact, it has been warned for many years that we must consider this a viable option: "Someday the Earth will become uninhabitable. Before then humanity must move off the planet or become extinct." (Dr Globus R., 17 July 2010). The American Dream, the notion of Manifest Destiny, identifies a reason to the means of the

Islands in the sky [beyond, actually] have been conceived and conceptualised since the first days of Man in Space. Gerard O'Neill, a highly prolific physicist plays an important role in the history of Space Colonisation history (amongst other achievements). Significantly, his design of 'Island Three', a 32 kilometre long station housing a climate not unlike Earth's. O'Neill's ideals and concepts have been manifested within an organisation known as the SSI (Space Studies Institute). Founded 1978 the SSI grew to contribute funding in support of O'Neill's commitments as well as those who became compelled through these ideas also. This organisation continues today in remembrance of O'Neill and his alleged testimony "Our mission is not complete until people are living and working in space." (SSI History, http://ssi.org/about/ history/).

The SSI have developed many principles and beliefs as well as practical solutions and thoughts into Space Colonisation:

"When European settlers came to the New World, they didn't bring lumber on their sailing ships. They brought axes, and felled trees on their land to build their log cabins. Similarly, when we begin to truly work in space, we will stop brining everything with us, and instead make maximum use of locally-available resources."

Similarly, the SSI believe that: "... we are largely confined to it [the Earth]. While we are certainly not as close to the limits of growth as many have proclaimed in decades past, it still cannot be denied that growth here on Earth must someday cease." These interesting notions inspire a great many ideas into expansion of the Human Race. It seems extremely plausible that very soon the need will arise that we must consider Space as the next realty to be acquired, farmed, managed constructed within. The implications inconceivable of course, but one thing can be wholly relied upon is that, space, size and expansion would be far more considered than

Recently, two major welfare charities have been established: The Millennium Seed Bank and Frozen Ark Project have been created to [in case of world-wide disaster] ressurect the threatened and extinct populations of both the plant life and animal life on this planet respectively. Many would argue that these projects are not a concern of humans and that the natural extinction of plants and animals is law of evolutionary theory and Darwinism.

However, adhering to ethical and moral implications we as a Human species must protect "Natural entities [which] have moral value in themselves, and so they must be protected by environmentally correct policies of action." (Katz E., 2002, p.89). Designing a habitat or series of habitats which must protect, assist and better the conditions found here on Earth would be an interesting consideration for a Space Station design that can be manipulated and researched to accommodate any condition desired.

It is also an adaptability that is rarely found on Earth currently; a series of lands or habitats that have been created to solely assist that in which it contains. The 'Eden Project' located in Cornwall, United Kingdom is an aged example of an environment segregating a community of plants and animals from the natural biosphere of Earth.

What then if we too created sole-purpose environments for other plant and animal species; industry; habitation; research; agriculture and cultivation, what are the benefits and disbenefits of this [perhaps] Utopian Environment? Unlike a planet, or our Earth, a Space Station can be upgraded, have replacement parts, be manipulated and adapted. A synthetic environment and housing for such an environment can evolve at a rate that can tolerate the human requirement of progress and curiosity. Something that our own planet has, and always will be unable to do.

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Part 1

The Race: space in Space

The Space Race, in the mid 20th Century sparked an entire new feat of exploration for Humankind. The [World] Wars had brought about destruction, but also new technologies (the evolution of which I discuss in My Own Independent Study: "The Final Frontier: Three Evolutions of Space Architecture", 2010). With these new technologies brought about a new Frontier, the Space Frontier:

"We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too...." (John F. Kennedy, Speech at Rice University, Houston, 12 September 1962)

These challenges are said to bring about growth and further radicalise a continuation of technological evolution.

These evolutions however, are failing to evolve into further the Space Exploration. The vehicles in which Astronauts and Cosmonauts reside within are generations old and have been upgraded minimally over the years. Still, it is impressive, nonetheless to imagine that these spaces within Space continue to house our scientists, our explorers, our Pioneers of Space. As impressive as the engineering is that goes behind expertly designing such machines, vessels, architectures in Space, they do little more than maintain those who live within them. Their design incorporating a completely functionalist attitude toward environment which Nixon here agrees â&#x20AC;&#x153;...physical comfort was sacrificed at the altar of engineering expediency, the space station replicates a benign environment Earthlike atmospheric environment to keep the astronauts alive.â&#x20AC;? (BDonline Magazine) It seems that the continual haste to create ever more complicated components and vehicles in

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the development of an aerodynamic ‘Earth vernacular’ - As I have written in my essay ‘The Final Frontier - Three Generations of Space Architecture’ the development of Space Vehicles has everything to do with function, engineering, perfection of space and weight and very little to do with comfort, aesthetic [though you may find a rocket aesthetically pleasing] or indeed consideration toward those living within it. This essay explored heavily a relationship of attitudes toward Space, and the exploration of Space. While trying to convey a series of emotions, experiences and opinions of Space a short movie was created to explore the Earth environment, the Space environment and how these two somehow interconnect and challenge the technology and our imagination.

The film also tries hard to express the differences in environment; for the human body, the technology and also simply just emotionally understanding these differences. Space, emotionally is extremely powerful, causing many astronauts to become physiologically different (as well as physically). The overwhelming sense of nothing, and everything; the daunting prospect

Those deeply in-conditioned words ‘up’ and ‘down’ are derived from the millenniums in which man thought erroneously of his universe as an horizontal island - in an infinitely extended horizontal ocean with an obvious ‘up’ and ‘down’ set of parallel perpendiculars to his flat plane ... (Fuller, 1970, p.30)

With these values in mind, one must design spaces which generate the feeling of an up or a down - or indeed; zenith or nadir. This parameter sets another useful opportunity to understand a life in Space where a design can utilise 0gravity but also be sympathetic to the sentiment towards Earth’s gravity and single plane. These theories are also supported by Henry Cooper who writes of astronauts claiming to become disorientated when entering ‘rooms’ ‘upsidedown’ around the SkyLab Station. The astronauts claimed that the room changed and they were unable to keep their bearings if they did not enter the same way up every time. Again, the interesting principle of entering and exiting

the same room(s) here on Earth can only be achieved by walking on the floor. Supposing that one can walk on the ceiling I may too become disorientated.

From these studies, (and also through the very nature of the human physiology), the space station designs are very much orientated with an up and a down. The hard, cleated floors represent down, while storage, windows and other such components indicate an up. The future of Space station design includes also other architectural design features which help to orientate an astronaut - these include coloured interior panels and ‘mood lighting’ which changes colour according to the time of day. Any interior panels are primitively coloured ‘sky’ or ‘ground’ colours according to their location within the vessel - further assisting in the orientation of the astronaut. These philosophies are used within the developed interior designs of the vessels, including the use of ‘soft’ to indicate an up, and ‘hard’ metallic or plastic surfaces indicating a down.

Fathoming Space

Space; it is an expanse too large to easily comprehend. And as explained within Terminologies, Space can be defined as Infinity; this equally is incomprehensible - diagrams and imagery find this mammoth task difficult, if not impossible because Space and infinity (it can be argued) are intrinsically linked with time, also.

The infinite has not always been so, however. before 1200AD Christian Theology believed in several large spheres encompassing the several known masses within the known universe (which at the time was not that large).

The firmament, as it was known, became not “a movement of translation ... [but] that is due to ‘its nature and the will of God’” (Duhem P., (1985), p.177) and many theories and assumptions became altered and changed as a result of the undeniable devotion of God at the time, for Pierre d’Ailly writes: Probably one can posit an immobile sphere above the mobile spheres. Several reasons can persuade us of this. Here is the first: one supposes first, that a body which can move by local movement changes place either as a whole or in its parts. ... each of the mobile spheres much be in a place. None can be in a place by the sphere lower than it ... (p.177)

This is clearly the thinking of the time, and firmaments have long been proven a fantasy; for the Earth is not engulfed by a solid barrier but actually a proven small atmosphere. As a result

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Size (and infinity can be categorised as a size) has everything to do with proportion, understanding of that proportion; and as Palma would remind us “Scale is related to measurement, and measurement was traditionally gauged in units that corresponded to the parts of the human body: the foot, the palm the digit.” (Zoom, p.255). It is not sensible to try and relate celestial bodies with a human scale as Palma might suggest, but rather with nearer, perhaps more comprehensible objects.

I would argue that we all have a certain understanding of the Moon. We have a relationship with this large orbiting satellite, it has played roles in religion, art, history, mathematics and astronomy for thousands of years - it has been playing a role in the evolutionary process of Earth for millions of years, in fact. The Moon (Earth’s Moon) therefore becomes a

reasonably successful scalable object within our Solar System; comparable to other objects (or so I had thought). In attempting this theory, a developed board was drawn displaying our Moon at a scale of 1:4000000, on the page opposite, the scale is rather at 1:18994540 (which is even more less than comprehensible!) In an further attempt to justify the scale of things within our Solar System, the Earth and the Sun’s diameters were drawn to the right of the diagram of the Moon - From the curvature of the lines, it becomes perhaps a little more understandable how large, actually, these objects are - Or, perhaps not. In further trying to bring a comprehension to the sizes, a couple of surface sections were drawn One of our highest mountain, Mount Everest, as well as our tallest building on Earth - these can be compared to a fairly average impact crater on the Moon’s surface; The Dryglaski Crater, which tallest peak sits at almost 9kilometers above the crater floor.

It would appear, that through exploring the infinite, the infinite becomes ever larger.

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Extending implies a time period; a period of growth within a specific time frame, which he goes on later to explain how galaxies within Space move apart at specific speeds according to specific time frames which inspires another small film which endeavoured to quantify ‘the size of things’ within our own Solar System. Again, the film is unsuccessful for it only is able to explain size proportional to a specific distance within a specific time. For infinite to be truly identified I believe the film would be infinitely long, with infinite possibilities and have infinite growth “eh?” (as Reynor Banham might say). But, why is all this important? (One might ask), understanding the ‘infinite’ is to understand the characteristic of Space, its growth, its expanse,

to try and understand this [on Earth] to aid in understanding how astronauts and scientists feel when they enter the void outside of their Space vessel.

Understanding an alien site, such as Space, is an important task. On Earth, one might design in an empty plot of land, or indeed within an empty building, but these have confines, limitations unlike the “key advantage of Space settlements [which have] the ability to build new land, rather than take it from someone else. This [would] allow a huge expansion of humanity without war or destruction of Earth’s biosphere.” (Dr. Globus R., 2010). With this in mind, architecture and space may not be considered to be designed or constructed but expanded (such as that of Space itself) which poses interesting design possibilities for such a site. The solid [the hard] can become soft in an environment such as that of outer Space.

Non-specifically, the site chosen for this paper is Space, the infinite; this is a misrepresentation of the specific, as previously described, Space is mathematically similar wherever one might be.

For the purpose of design, the site shall rest between the Earth and the Moon, which of course, again is highly non-specific and highly variable in both temperature, gravity, sometimes even space itself (for the Earth and the Moon’s orbit is variable).

Space is a variable environment, with many unknowns and continues today to be scientifically measured and observed by machines and humans. It is this interesting climate of change that can also identify Space as being ‘infinite’; infinite in its temperament, size and variability. The design therefore will orbit around the Earth as hundreds of unmanned structures do everyday; as the manned ISS does 16 times a day and as the Moon orbits once every 27.32 days. Unlike the ISS, the design of the ‘Space Station’ aims at being designed for the comfort of a person, for their wellbeing and needs. Materials carefully chosen for their aesthetical, functional and practical needs to suit the infinite and hostile environment of Space.

Enter; Human

Pioneering has been associated with the exploration toward and through the limits of the Human body throughout time.

On Earth, the pioneers have exposed themselves to mortal danger in an effort to frontier research, exploration and investigation. Entering Space has been no different for the many men and women who have travelled beyond the protective Earth's atmosphere where they subjected themselves to an environment very much unlike that we can even comprehend.

In 'The Space Issue', Blueprint:The Leadng Magazine of Architecture and Design, (March, Issue 300, 2011), It was written: "To stop astronauts from blowing up, we need to control pressure on the body and the fluid running through and over skin." ((Gwen Webber) (quoted by Guillermo Trotti) p.26)

The cultural pop-fiction of the late 70's and 80's managed to implant in our minds the ferocious nature of Space and its extreme climate. I met 'Gee' (Guillermo) on my trip in Boston, he supervises the team in their exploration of the new Space Suit (see to the far left) allows maximum human movement and helps be 'more' comfortable than current Space Suits that are used by Astronauts and Cosmonauts today. Trotti's comment is interesting, however in as much that NASA proclaims that in fact Space does not have the effect on Human's that we come to expect: You do not explode and your blood does not boil because of the containing effect of your skin and circulatory system. You do not instantly freeze because, although the space

This information is apparently supported through experimentation and accident which has occurred throughout previous missions in Space Exploration. One particular incident has been documented by the Soviet Manned Space Flight: ...the orbital module was normally separated by 12 pyrotechnic devices which were supposed to fire sequentially, but they incorrectly fired simultaneously, and this caused a ball joint in the capsule's pressure equalization valve to unseat, allowing air to escape. The valve normally opens at low altitude to equalize cabin air pressure to the outside air pressure. This caused the cabin to lose all its atmosphere in about 30 seconds while still at a height of 168 km. In seconds, Patsayev realized the problem and unstrapped from his seat to

try and cover the valve inlet and shut off the valve but there was little time left. It would take 60 seconds to shut off the valve manually and Patsayev managed to half close it before passing out. Dobrovolsky and Volkov were virtually powerless to help since they were strapped in their seats, with little room to move in the small capsule and no real way to assist Patsayev. The men died shortly after passing out. [...] The rest of the descent was normal and the capsule landed at 2:17 AM. The recovery forces located the capsule and opened the hatch only to find the cosmonauts motionless in their seats. On first glance they appeared to be asleep, but closer examination showed why there was no normal communication from the capsule during descent. (Bellows A., 2007)

This incident, however tragic marks a pivotal understanding in Human exposure to the vacuum of Space and the effects it has on the body. It is clear that direct contact with Space is unacceptable and the consequences fatal.

In Space where there is no gravity for Pogue [an astronaut on board Skylab] to work against, and where getting about or lifting things placed no physical strain on his body, his unused muscles were apt to deteriorate; his legs were particularly vulnerable as they were never used as they were on Earth. (Cooper H, 1976, p.100) The value of exercise is extremely high. Astronauts would have many daily exercises scheduled while on missions and the intention of the design was to aid in creating such exercises of oscillating through Space like an eel to work as many muscles as possible - with the advantage of moving in Space also.

While in a Space environment many more affects happen to the body than just simply muscular deprivation or calcium loss in the bones. Other affects, such as heart pace reduction and the blood collecting in the top half of the body are a result of the lack of gravity, this in turn causes swelling of the face and the thinning of the legs. The eyes strain to decipher perspective and distance, often objects appear to be further or nearer according to the environment. In small enclosed spaces astronauts believe objects to be closer, in open areas (such as while Moonwalking) the enormous expanse overwhelmed the senses causing them to believe distances are greater than they actually are. Countering these affects are predominantly very difficult, and the current Space habitats try hard to alleviate the frustration felt by many

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Another bodily change, which has also been of much deliberation recently is that of the eye; specifically the lens within. The eyeball comes under pressure similar to that off a reported “intracranial hypertension, [which is] a rare medical condition that occurs when pressure inside the skull rises and presses on the brain and the backs of the eyes.” (Sample I., 13 March 2012) This discovery could very easily foreshorten many future long-duration Space exhibitions,

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In attempts to counter the affects of Space and its inhuman environment, scientists and designers continue to develop and demonstrate new technologies and architectures to mechanically maintain the human body’s functions. Design inspiration for a ‘Spacesuit’ came from a visit to MIT, USA during a tour whereby the suit became a ‘second-skin’ allowing great movement potential for a more functional and practical garment design. The photograph to the left demonstrates a recent design lead by Professor Dava Newman of the Massachusetts Institute of Technologogy and

This spacesuit combines sophisticated aerospace engineering, industrial design and patterning skills. It was designed by monitoring the stretch wtihin a garment as its wearer moved, identifying potential fabric deformation. The result is a second-skin pressure suit for astronauts where the elastic cords mar out lines of minimum stretch

The existing design inspired a new approach to design a Spacesuit garment, one which answered a ‘second-skin’ that could become adaptable or even at equilibrium to the non-atmosphere of Space. Unlike the design of a large architecture, or ‘room in Space’, the body architecture of clothing must adapt to the outside environment and to the inside environment (that of the body) and aims to become an “artistic format that is both “representational” and “operational”; Operational Aesthetics (Aesthetic en Fonctionement), as coined by art theorist Nicolas Bourriaud.” (Orta L., nd)

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As nitrogen filled tubes within astronautical design aids both unmanned and manned equipment to function at â&#x20AC;&#x2DC;Earthlikeâ&#x20AC;&#x2122; temperatures through a convectional heating and cooling array of transferring warm and cold fluid around the products; the exterior tubes will act similar within the Spacesuit design. The inner liquid is pushed around the tubes through the occasional movement of the astronaut and in doing so, the liquid moves around accordingly either faster or slower maintaining a constant temperature.

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The tubes also allow a structural strength and aids in maintaining the form (the human form) of the garment. This is an important aspect, as the shape of the suit will either aid or impair practical movement for the astronaut which according to Gwen Webber: “Current suits only enable the wearer limited flexibility, permitting them to take the loping stripes that Neil Armstrong and others made on the moon more than 40 years ago.” (Webber, p.26). Practical shape or form, as well as functioning internal atmosphere or body regulation are two fundamental characteristics of this body architecture. The suit responds also to tightly pressing upon the body aiding blood circulation in very much the same was as ‘flight socks’ prevent bad circulation during prolonged seating positioning on flights.

As such, the suit again utilises the afore mentioned cooling/heating system (the pipes - which can be recycled later in this paper for larger architectures, such as rooms or entire crafts). The suit was designed to be easily put on, or taken off, the folding ‘helmet’ simply slides over the top of the wearing - Space’s vacuum tightening up the transparent fabric. Electronics and mechanical equipment is hosted in a backpack - similar to that of the current day Spacesuit designs. The microtechnologies within this design can be adapted, and even re-explored throughout the paper to better serve other architectures, such as the ‘clip’ design (seen in the grasp of the astronaut) - this can be utilities for use both inside and outside of the Space vehicle.

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Part 2

Architectural Vehicles

Generation old Space Craft have been sending and bringing back Astronauts and Cosmonauts since the mind 20th Century. These vehicles are maintained, having parts replaced, upgraded or, the vehicle itself now retired; The NASA Space Shuttle for example now remains testament to the only reusable Space transportation vehicle.

1942 brought about the first ever rocket into space. Obviously, this was an unmanned mission, exploring the new ways of committing warfare through the use of rockets.

Post-dating the V-series rockets during the world wars, the R-7 ICBM rocket was use and launched on 4 October 1957 to release the Sputnik satellite into Space. This marks the first ever use of fuel rockets to send probes into Space; beyond our own atmosphere. Consequently, this still has no impact on human environments in Space and it wasn’t until 1961 when Yuri Gagarin completed the first ever human Space visit on the 12 April. Gagarin orbited the Earth within the Vostok Spacecraft, a heat-shield covered spherical capsule large enough to surround one person, two small porthole windows and fuel, rocketry and other such life-support systems attached to the ‘rear’ to maintain the systems within. This design was constructed through limited knowledge of the Space environment, amazingly correct the first time and seemingly very little adapted to modern Space vehicle design since. Continual ‘hard’ and non-adaptive exterior skins are used upon Space craft in missions

It is with this knowledge that the design first evolved. Specific titanium plates were envisaged to solidly attached to a rigid inflexible interior structure to form a robust and fairly cylindrical structure. With this form, based on the modular pods that are used in Space design today, smaller, adapted components were fitted around or within making the form more fitting to purpose and use specific. Another aspect of this design; the rustic almost haphazard and bespoke components which were intended to seem as though the structure had been compiled of scavenged and recycled components found orbiting the Earth. This ethos generated a culture that I felt would be interesting to explore, one where pioneering astronauts gather not minerals, and raw materials to forge machinery, but collect broken machinery and abandoned components that become lost

in Space after they have served their purpose. A recycle ethos would be an intelligent method of construction due to the lack of natural resources within Space itself. Mining resources will of course be highly labour intensive and difficult in the extreme environment. There is also a strong current philosophy in hacking or self-construction architecture to aid in “making the ugly machine, to make the beautiful machine” as Alastair Parvin announced at the OxArch Debate Series. The idea that one must first construct and practise an architecture to finally fulfil a dream aided in generating interesting ‘pioneering’ architecture in an environment where a new society, a new vernacular could be founded.

Following this ethos the incorporation within the design was the practical application of ensuring that an astronaut can ‘clip’ him or herself onto the vessel, ensuring that they do not float off into the infinite. Simple, and existing technologies were considered for this element of design. It is felt that smaller technologies, such as that of the mountaineering fastener clip, would very easily be used for the first Pioneers to inhabit Space. This design consideration continued to run throughout the interior also.

Further consideration was the vessels own ability to attach itself onto other objects. Unlike on Earth, when an object is on the ground, and stops, the vessel stops - in Space, a vessel continues on its previous path - inertia energy continues to carry the vessel. The ‘claw-like’ attachments on the rear of the vessel were designed to attach to another object or vessel.

More functionalist design aspirations were taken into account when considering the more practical design elements and environment of the Space Vessel. The window portal, for example has a closable lid which protects the glass from becoming damaged by debris or small particles that speed through Space.

impractical design solutions which in turn hinders the integrity of the ethos. The opening and closing of the solid portal cover, however reflects the haphazard nature of the vessel; it opens and closes using a pulley system much like we may use of Earth to hoist items up and down. Another design aspect was the regulation of temperature within the vessel. In Space, temperatures vary through extremes; it is therefore important to create an equilibrium or use this to an advantage; storing heat or transferring heat throughout the vessel. Conduction pipping runs on the inside and outside of the skin, transferring heat from where it is no longer needed to areas (such as living spaces) that do require it. This methodology is actually used in unmanned satellites to maintain an ‘Earth’ temperature for electronic devices.

The covering up of vulnerable aspects of the vessel is rather cumbersome. Although windows are an apparently important aspect of Space stations and vessels alike, it creates difficulty and

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Fig.35 91.

This design solutions aims at working with, not against gravity and the non-pressure of Space. It’s completely tensile, soft and malleable structure allows gravity to act upon it, allow it to stretch, compress and bulge; the form becomes deformed, the interior being constantly reshaped and changed. The form of the vessel was also inspired by Reynor Banham, who poetically describes softness fur and also moss as “[one] of all the materials friendly to man it is the friendliest, because it is kissing the cousin to our own surface

and grows in some of our friendliest places.” (Banham R., 1968, p.529).

The vessel allows for the whole interior to be lined with fur, for all the “tumbl[ing] about during magnetic stormes, free fall or rough re-entries.” (Banham R., 1968, p.529). Barbarella also does try hard to seduce the viewer, her ‘distressing’ [of course] tumbling and flittering about within her soft, playful ship suggests heavily in Space no longer being a harsh, hostile environment, but one of fun and excitement; not a place for studies and science (or for boys and geeks) but for passion and lust. This design attempts a similar technique, the exterior using many gentile arms to lap at the empty space in Space, caressing its way gently through the [no longer] hostile environment upon an approach to another vessel or object, the arms elegantly reaching out, locking and pulling itself closer to steady itself.

The exterior here, also trying very hard to be soft, elegant and seductive in an informally masculine environment such as Space.

The Carceral Eden

The Panopticon; a mechanism that operates surveillance on the theoretical impracticality that anyone person can view any or all spaces at any given moment allowing, in fact the need for none to be viewed at all.

Jeremy Bentham's Panopticon design allowed a central viewing point, from which the 'viewer' was shrouded - as such, those positioned to be viewed were unable to notice if it were he that were being viewed - thus, the level of control maximises based on the possibility that they were being watched.

Bentham describes: "the essence of it exists, then, in the centrality of the inspector's situation, combined with the well known and most effectual contrivances for seeing without being seen." (1995, p.43) To which Foucault critically explains: "Is it surprising that prisons resemble factories, schools, barracks, hospitals, which all resemble prisons?" (1975, p.228) in an attempt to define that in fact, Bentham had generated a space that (although as a preface to possible other uses) could be used for a multitude of other practises which are definitely not an appropriate effort in surveilling such environments. The definition that Foucault uses ("Carceral Culture") defines the reorganisation of society towards everyday habitations and infrastructure

The Panopticon (which forefronts the apparently demise of un-surveilled culture) inspires a conceptual understanding of space and how to organise a structure that could well create the inverse Earth, avoiding such a space requires necessary understanding of both Foucault and Bentham to construct spaces which help society within the freedom of Space, within the confines of space. I introduce also, Jean-Jaques Rousseau who questioned such a way of exploiting such a panopticon for surveillance, rather he thought of using such a system to learn and inspire; "It was the dream [of Rousseau] of a transparent society, visible and legible in each of its parts ... each individual, whatever position he occupied, might be able to see the whole of society, that men's hearts should communicate, their vision be unobstructed by obstacles, and that opinion of all reign over each." (Foucault, 1980)p.152)

environment to allow life to live within it. To this end, it is obvious that there can be no ‘outside’ space, per say. Of course, it would stand to reason that there might be a space that would provoke a certain nostalgia toward the natural Mother Earth.

It is important that a synthetic construct take into account this ideal, but also to retain the knowledge and understandings of Bentham and how the perception that the panoptic generates the problem of “...visibility, but [Bentham] thinks of a visibility organised entirely around a dominating, overseeing gaze.” (Foucault M. 1980). It is around this ideal that the panoptic can both inspire but also organise control. Inspiration around a central point, where there is community, congregation, sight towards home, sight towards one another or indeed sight towards the infinite dream.

Living space is important, a small space that would allow people to call their own, or to take ownership of. This has been particularly noted and seemingly important in the Analogue file: Soviet Space Station Analogs, by Bluth, BJ. Helppie M..

The Space Station is a developing brief, one to grow or contract according to it’s needs. Space has the amazing ability to allow flexibility in a seemingly inflexible environment; one that is inhospitable and requires a constructed

Viewing the Earth from Space is of great importance also, in the same Analogues, it is noted countless times that Cosmonauts enjoy viewing the view down to the beautiful planet. I believe that I might share this similar nostalgia, the Earth, the one home we (as humans) never leave. Even when ‘home’ is behind us, we always have our true home, the Earth. Which is an interesting notion in itself. The idea of place or a home being that which we think very little about. Apparently, in the case of the Space Pioneers, home will be the Earth, something to return to, perhaps one day.

Continuous growth within a space that allows almost unlimited expansion possibility.

All the necessary mechanics and plant rooms will be required to be housed in some fashion. Depending on the adoption of centrifugal forces or allowing the Stations gravity to remain in ‘freefall’ the mechanisms for filtration, water cleansing et cetera can be housed in several different ways.

Perhaps then, the modularity of architecture can also be applied into the scheme, or variable modules allowing interesting fractal designs. Equally interesting is a growing architecture, or a simple structure design allowing other architectures to graft onto the existing megastructure, expanding on a need-only basis.

Community spaces are often documented as being integral to the happiness of those in Space. Humans spend a lot of time amongst other humans. We are a communal species, even if we seclude ourselves (chosen or otherwise) we often are within easy reach of speaking or visiting another person; it is noted therefore that in Space, the nearest human is either on the Station or living back on planet Earth. The Station or Colony should be designed with the understanding that continuous growth could be adopted into the design, Space is infinite, it stands to reason (from the research within this thesis) that the architecture might be also.

A very important element to the capacity and functioning of the structure will be the centrality of the core element. This having been noted and identified as a success by Dona Goodman; “[Kenzo Tange’s] ...central element [of his expanding masterplan city] was a linear spine of information and communications networks to support a secondary system of streets containing urban structures.” (2008, p.172), I believe this too to be an important design element; one where everything is viewable from one position, or where incidental congregation occurs, the efficiency of centrality is paramount in an environment where there is no up, or no down.

[The Sky’s] Infinity’s the Limit

As the project develops, as does the brief. It is apparent that a whole Space Station, or Space Colony is a task too large to successfully develop and design within the time frame of this project. Such a task should be one that expands and grows over the time frame of its life - Like a city.

Las Vegas was used to aid in the development of the brief. Such a city was founded in a desolate area of the Nevada Desert, not developed around a natural resource, very much unlike many colonial towns and cities. In contrast, it is important to compare the wealth and success of Las Vegas with Salt Lake City, Utah. Salt Lake City, in comparison is not sustained through the commercial or capitalism but through the belief that the residents are in their Holy Place, their Zion. The very nature of this belief creates a very different city, one which grows and develops through adherence to a cause, rather than monetary gain or need.

However different these cites are, they both a constructed from a central core element, and to reference Dona Goodman once again; “[Kenzo Tange’s] ...central element [of his expanding masterplan city] was a linear spine of information and communications networks to support a secondary system of streets containing urban structures.” (2008, p.172) . This centrality of growth influences how the mega-structure expands; whether the city will need residencies, commercial services, how might the infrastructure is placed and indeed how the city operates

Salt Lake City grows through its founded and established religious beliefs. The Church of Jesus Christ of Latter Day Saints aids in attributing to the largest employer in the city. Less growth is attributed to commerce and sales against a high proportion of banking establishments and oil companies. These differences obviously make a large contrast in longevity in the established cities. The attraction of Las Vegas can be considered much

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The justification of growth of human habitation and structure does not simply end at the tenuous link of size, however. It has long been man’s [human’s] pioneering efforts to cross or maybe even conquer (I refer back to Griffith’s reading of Manifest Destiny in which Suburbia leaks into and eventually dominates barren lands) the unhabitable deserts upon our planet. The similarity of this conquest to that of the Space Explorers make these landscapes distinct and unique for their requirement for extreme architectures and solutions.

Further to this explanation, the desert offers an environment in which one must adorn protective clothing or become subject to a whole host of pains, damages or even death in the extreme temperatures and climates that the desert has to offer; Space, in a similar instance also suffers humans.

We have learnt (before even travelling into Space ourselves) that without protective clothing, entering the vacuum of Space (or indeed space) would be catastrophic for the human body. This has already been discussed previously within this paper; however, similarities in devastation do frequent both the Earth climate of desert, or outside of the atmosphere in Space.

And so the understanding of the desert climate, and what growth and why growth in this apparently inhospitable scenario of limited resources, the lack of the social the natural and of course the difficulties of temperate climates which can often be extremes of hot or cold. It is arguable that any growth of a city cannot occur without any of these factors - for the lack of these would mean humans would of course not enjoy frequenting the city; lack of new ideas and business ultimately might lead to the demise of the established settlement.

The strengthening of the panoption theory, or at the very least understanding that this philosophy could inspire and invite innovation removing crime or sadness leads (in my own opinion) toward a utopian society; the vision of future Space exploration and habitation. The eye, frequently a symbol of higher knowledge or inner thought and indeed the all seeing panoptic gaze itself becomes ever more frequently researched as this paper continues. It’s importance of becoming and remaining moist, clean, biologically safe in the new gravity environment as well as now being a tool in which to share ideas and thought as well as maintaining civil order and a safe environment in which to live. Its other importance of course being that of gazing with connectivity toward the Earth itself.

An appropriate phrase for a conversation in which one can easily generate mental anxiety toward the infinite abyss of Space and indeed the lack of the social interaction we as humans so often enjoy here on Earth. Many films have previously explored the social consequences of Space. 2001: A Space Odyssey psychedelically portrays the main character in a colourful vortex of confusion and maddening state, brought on through the loss of social and very possibly the confusion of the infinite vacuum itself. The characters self-torture eventually brings him to a room confused by future and current furniture where he does eventually pass away. Moon, one of the newest Space ethical experiments recently released portrays a

paranoid character who eventually discovers himself to be the only operator upon a Lunar base outpost. His confused state leaves him often talking to himself or occupying himself with crafting hobbies (a usually very Earth-like hobby); we are often brought back to the origin of the human species - a futuristic set, with very Earth vernacular attributes; furniture, hobbies, sports.

Solaris, the features films of both 1972 and 2002 offer a more blatant mental state [probably] brought on through an alien presence conjuring thoughts and visions. Nonetheless, the dementia interests the viewing and reminds us that Space is hostile, unforgiving and can play host to a variety of unknown psychological symptoms just as those on Earth when humans are kept in solitary confinement or kept away from civilisation for long periods. If the infinite void itself was not enough a prison - in that there is no specific place to inhabit or go, certainly the vehicle in which humans dwell would be deemed the prison (albeit one which keeps the body protected).

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Part 3

The Affinity Toward the Blue Marble

Neil Armstrong recites his affinity for Earth, describing it as ‘beautiful’ and as a ‘blue marble in the black abyss of Space’. For a long time human’s have described the Earth, both before and after the first man entered Space.

Our own [humans] affinity for our planet resonates throughout science fiction, novels, plays, film and theatre. In the Paramount produced ‘Star Trek: Voyager’ the entire 7 series collection persists with a continued journey in returning back to Earth or “Home” as the crew describes it.

The description of Earth as Home plays an important and personal role in provoking an individual response which is universal (excuse the pun) in nature. The importance of returning and calling Earth Home gives a reason in itself toward a hungering need to return. Home is where we begin life, and in many cases will be laid to rest at the end of life. These are more local locations, geographically, but when faced with the prospect of leaving Earth entirely, home becomes a general geographic and thus, Earth becomes Home which is why the reports of “Astronauts have said ... that their favourite relaxation is to gaze down at the Earth...” (Nixon D., 2010) The spherical earth’s true beauty was not obviously seen until we had eventually gained the technological and mechanical means to enable imagery from Space back for us [humans] to see.

What is also so thought provoking about this image, is that a similar view was witnessed by Neil Armstrong and Buzz Aldrin, who remembers “looking at the Blue Marble with amazement” (Aldrin B., 29 July 2009))

I do not believe that our own affinity toward this planet be unexpected any more than perhaps a new born baby reach out towards it mother for protection. The Earth has been our home, it is our “Space Ship...” as Buckminster Fuller lovingly describes it which is “...so superbly designed and supplied as to allow man to be so utterly ignorant for so long.” (Fuller RB, 197, p.52) of course ‘ignorant’ in that little did we, ourselves realise that we are hurtling through Space at many thousands of kilometres an hour. Yes, the word ‘home’ is rather appropriate. Home is where we rest and are safe, all animals have homes and the Earth provides them with the

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The film attempted to present the various moments of history, present day and future possibilities of Space, airing the multitude of attitudes; specifically the generational attitudes which I had discovered in my Independent Study (2010).

Outward Glancing

An ideal that can be understood from reading many musings of space is that even our current ‘explorers’ continue to gaze from above with longing affinity and dream lovingly of ‘home’. They know that they will be returning but continue to marvel at Earth’s beauty, to contemplate and to stare down in their few off hours.

Principally, if astronauts and cosmonauts alike spend a lot of time dreaming of Earth; “Cosmonauts report that they dream every night. The usual dreams are about Earth.” (Bluth BJ. & Helppie M., P.III-39, 1987) it would be reasonable to design Space architecture as if to feel like an Earth architecture, as I discuss in my 2010 essay collection; “...Space Architecture is very much built on basic principles of design here on Earth...” (Leech G., p.41, 2010) as such constructing a series of spaces that feel and look as the those that would provoke feelings of comfort and safety.

Interestingly, Gerard O’Neill had considered these principles in his 1977 publication writing that “... We need [to build a colony in Space] to provide gravity, water, land, air and natural sunshine in an Earthlike environment.” (O’Neill GK., p.98, 1977). His enormous “Island” series of designs spark interest and complex detail into human colonisation, society, political and economic structures as well as an architectural suggestion which goes no further beyond O’Neill’s own American Suburban design - no pioneering, adaptive or even critical Space dwelling (if it can be called such a thing) has been stipulated within

Such reports (as I have previously mentioned) explicitly detail time and time again the Human need for visual contact with the Earth; albeit simply for look out of a large circular window and gazing down at Earthâ&#x20AC;&#x2122;s magnificent beauty. With such knowledge; a viewing platform was conceived to aid in such activities. This platform would fulfil the requirement for viewing our planet as well as creating a habitable environment for humans to be sustained. The platform must be a self-sustaining habitat

Fear is generated through claustrophobia, a fear of never being able to leave an enclosure or environment - the Carceral Eden, the space that allows one to live, is also the cell, the prison that keeps one alive.

The design to the left tries to combine researches into gravity generated through centrifugal forces, while within the centre of this structure the natural zero gravity of Space can be explored, the platform spins causing a centrifugal gravity upon the outer ring - this is where all plants and crops will be grown to sustain human life. The humans aboard would also visit here often, to maintain their physical strength. Simply, the central platform is a large window for the habitants to gaze toward the Earth, around this are housed living quarters. The first experiment in generating an external architecture for Space may not have wholly been successful,

The connect that the window allows is bold and pronounced, two things that a panoptic aims to obscure as Bentham says himself, the Panoptic â&#x20AC;&#x153;... exists... [when the perception is of] seeing without being seen.â&#x20AC;? Bentham J., 1995, p.43) With the viewing and viewed have such direct contact, the panoptic viewing platform fails to be inspiring or indeed a fictional gaze, thus losing the appeal and effectiveness of such a unique experience.

Inward Dreaming

It is all very important, thinking of the outer shell of the Space vehicle. It’s form, its shape, its materiality, but the importance of the environment within, not without makes this proposal the scalable object an ‘eden’. The comfort of the user, their interaction with the surface and how that is applied has become more important within this design process.

The document “Sociokinetic Analysis as a Tool for Optimization of Environmental Design” by Constance Adams derived several major factors in the decisive understand of how interior and built environment design aided in creating more comfortable habitats for users. “Finishings, dimensions and privacy affect the usability of the area.” (Adams, CM., p.173) which confirms the materiality consideration is highly important in such an enclosed and confining space.

Constance also goes on to conclude that “Highglare illumination can render an area unusable...” and also “loud acoustical environment can render an area unusable.” (p.137). Typically, such things are often considered on Earth, but in Space, with no place else to detach oneself from the space within, these hindrances may become inflamed and made ever more important to remove from the design. Such things therefore, as removing the sleeping space from the body of the habitat, or indeed acoustically insulating this space must be considered as well as minimising direct windows into the outside environment to help prevent glare and direct sunlight.

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As such, my design incorporales a freestyle sleeping ability where one can do what they please while tethered up to the wall of their accommodation. The tether enabled them to float freely within a small enclave of soft walling which surrounds the astronaut with the protective and warming materials.

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A design consideration was taken toward the hard metallic structure of tethering clip and hook. This obviously would be uncomfortable to bump into - around this protruded soft cushioning would be placed, enabling a persons hand into to activate the mechanism.

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For this reason, it was felt that this space would be significantly spacious as to allow visitors into the space (although noted in the document it was seen as a rare occasion to accept guests) but also the space was designed so as to allow a cocooning affect within - the space being protective and nurturing rather than large and ominous to visit.

The design of the space also allows a significant detachment from the main body of the architecture, allowing further detachment from light, sound and noise; the only attachment being that of the panoptic lense which projects the Earthâ&#x20AC;&#x2122;s image upon the canvas above so as to allow the astronaut to fall asleep, or lay within his or her â&#x20AC;&#x2DC;spaceâ&#x20AC;&#x2122; restfully, gazing upon the projected image of the Earth.

Small tubes would be sewn into the fabric of the shell which would filter fluid from inside through to the outside of the architectural fabric. This method of heat transfer is currently being used with satellite and unmanned technology in Space.

The fluid enables an equilibrium temperature - similar to that used in Ground Source Heat Pumps here on Earth - understandably the temperatures are slightly more extreme in the environment of Space. The clip here is demonstrated once again, linking the joins and the fabrics together creating a more solid frame from which the material can be attached.

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.. .. .. .. .. Fig.71

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Astronauts very easily become unwell with the first affects of Space - sometimes never fully recovering and sometimes their health deteriorating as their time lengthens in Space, Cooper reminisces from previous Space missions: Their [astronauts] body fluids had been redistributed from their lower to their upper parts; and they had also lost a substantial quantity of liquids, including blood, electrolytes, and hormones. ... One thing seemed certain: the longer a man was in Space, the worse condition he was in when he came back. (p.9) Retention of water within the facility is also very difficult but important to the environment and the health of both the astronaut, environment and the systems operating the habitat. Liquids in Space form spheres and continue to â&#x20AC;&#x2DC;floatâ&#x20AC;&#x2122;

.. .. .. .. .. Fig.74 Fig.75

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Unlike the soft cushioned area of the living space, I feel that the bathroom would be better suited being a harder less liquid retaining material, a metal or plastic interior - this allows for ease of cleaning as well as retention of plumbing and other mechanics - in an environment where spare parts are a luxury, tedious design consideration must be discussed. Further understanding of ergonomics has also been considered, in reference to the two images (left) the bathroom must house cleat plates to attach the astronauts shoes so he may sit on the toilet - it is noted that in a 0gravity environment, even sitting down becomes difficult and the leg muscles would be required to ‘pull’ the person

back onto the seat of the toilet - considering this, the design incorporates a grasp so the person may ‘push’ with his or her hands to remain in a seated position - allowing the leg and buttock muscles to ... concentrate on other issues. Of course, a seat-belt system could be used like previous missions.

Further considering this small space, a shower facility will also be housed and operated here. as I have previously discussed, water droplets in a low gravity environment, therefore more water would be needed to aid in the washing of a person an oxygen mask should be warn, perhaps, as the liquid would not necessarily flow in a nadir direction. extraction and circulation of air and liquid would be operated mechanically through fan systems which pull in the air and water and redistribute it through a single ‘spout’ nodule around the door of the compartment. Simply, this system ensures that the environment within the bathroom remains within the bathroom. As the astronaut exits the bathroom, the water is pushed off his or her body - the spout is housed around the ‘door’.

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In this detail, rivets are placed close together to enable a strong structure between the interior panels and the exterior - the rivets serving the purpose also of ‘flicking’ water from the metallic surface of the wall and back into the air.

The development of this detail was based on Marks’ opinion of Buckminster Fuller’s belief that “men do not make structures out of ‘materials’; they make larger structures out of small structures...” (Marks RW, 1960, p.39)

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It was felt that the design solution should be simple and non-interfering with the overall design, the pressure handle should also be removable and comfortable to grasp firmly and push onto.

The design is small, and easily can be held tightly in the hand.

Fig.80

Outward Glancing

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The room allows for the panoptic (as mentioned previously in this paper). The space that comforts the user may be used solely for the purpose (not only to ponder) but to concatenate, not only with he or herself to the world, but with a host of these orbiting platforms. However, it could argued that the panoptic would not represent the Earth as it is, but a representation, almost a hyperreal Earth that projects itself upon the screen from which the astronaut views. In regard to such a projection, Baudrillard has written:

The end of the spectacle brings with it the collapse of reality into hyperrealism, the meticulous reduplication of the real, preferably through another reproductive medium such as advertising or photography. Through reproduction from one medium into another the real becomes volatile, it becomes the allegory of death, it also draws strength from its own destruction, becoming the real for its own sake, a fetishism of the lost object which is no longer the object of representation. (Baudrillard, J. 2007, pp.71-72)

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Ballbearings became the solution, designed to be completely perfectly manufactured allowing a seamless connection between one sliding section to the other. Another solution came with an outer-skin which created another protective barrier to the exposure of Space from within the sleeping compartment The affect which was important for this design development was the astronauts ability to slide the entire compartment closed. Once the occupant is inside, no light can seep in, therefore creating a better projected image upon the screen within the compartment.

The importance of this ‘private’ relationship with an astronauts bedroom is signified in Constance Adams research (nd); “people talking would stand just outside or in the doorway of another person’s room, ... establishing a territorial boundary between the semiprivate realm of the corridor/landing and the private realm of the crew quarters.” (p.172)

This is not entirely for the need to reduce Payloads but actually because the lack of gravity increases the perfection and therefore efficiency of these parts.

Henry Cooper writes significantly on the various properties of “perfect” materials that had been experimented upon on the SkyLab missions, particularly within the first two crews. One more viable and particularly useful material was that of the properties of tensional liquids which bubbled or sphered in the lack of gravity. “NASA was interested in the science demos and some of the other corollaries, to see whether there were simpler means to turning weightlessness to good account. For example, if molten metal formed spheres in s[S]pace as readily as water, and was then allowed to cool into perfect ball bearings... machines using perfect bearings would run much longer before wearing out. (In theory they would be entirely

frictionless and, therefore, last forever.)” (Cooper SF H, Jr., 1976, p.67)

From the development and construction of small ball bearings, allowing the smooth movement of various parts within the Panoptic Platform to larger more tactile details designed to be used by the inhabitants to secure their feet to the ‘ground’

Importantly, the ability to secure oneself easily and steadily is very important, again referring to Henry Cooper “All the astronauts ... preferred the triangular attachment on their shoes because it fitted more tightly into the triangular grid...” (p.90) The following spread displays the transparent grid structure which has been developed upon the knowledge of bicycle cleats used by cyclists on their pedals. The decision to redevelop the technology was based on the recycling of the Earth’s technology ethos that this design utilises.

Fig.85

Outward O Outw Ou uttw war ard Gl G Glancing lanci an a ncing cciing ng

Large mechanical cogs control the simple device that can either focus on the Earth (at its descended length) or upon the Moon (at its most extended). The elimination of complex parts helps complicated maintenance as the telescope itself is actually exposed completely to Spaceâ&#x20AC;&#x2122;s nonatmosphere, preventing mirror condensation and warping from the changes in extreme temperatures both in and outside of the Sunâ&#x20AC;&#x2122;s view.

The Space Utopia: The Vision

‘Space’ would seemingly be ‘the future’. One might assume this through the historical founding of the Space Studies Institute (first mentioned in the introduction of this paper) which by its very nature believe in “O’Neill’s dreams for a peaceful and beneficial use of space for all humankind.” (SSI History, http:// ssi.ord/about/history).

This paper, aims at exploring the architectural and humanistic considerations of Space exploration and habitation; the research of dwelling, not just surviving in an environment which presents an almost habitable impossibility in reflection of an Earth-like habitat.

In being presented with such an opportunity, however Space provides very interesting and usable characteristics. Such things as the minimal gravity - or zero ‘g’ as it has come to be known (it isn’t quite zero...). The lack of gravity has come to be the most significant characteristic and experience of Space. The astronauts and cosmonauts ability to apparently glide throughout their habitats provides a vehicle in which to move heavy machinery or equipment or indeed to access ‘ceilings’ or hatches which would usually be inaccessible in a single planed environment (such as that of the Earth). The lack of gravity does, however present simple problems. As explained in the previous chapter; how does one perform a simple task of going to the toilet, or showering, or even doing up ones shoelaces without performing a pike jump Beth Tweddle would be proud of.

Indeed, it would seem creating a gravity environment in Space would be the instinctive ideal to want, create and do, however, the benefits of no gravity enable greater and more exciting design solutions and possibilities; doors in ceilings, floors; machinery cupboards can be rounded, with no door but elasticated nets preventing such things to fly about the interior. The previous chapter, explores the generation of these smaller details, their development and their suitability.

Where might an astronaut cling to pull, or kick to push? Or, of course... After pushing off, what is the trajectory that the astronaut might take - what obstacles are then in the way of said astronaut?

These explorations continue to run throughout the design development of the drawings and images within the final conclusion, trying to move from a “hardware” towards “fur ... “materials friendliest to man” (Banham R., 1968, p629). However, continually as this project reminds the drawings to be more “responsive ... pliable, breathing [and] adaptable...” the conclusion seems to ensure solidity and structure, very much like those images for 2001: Space Odyssey.

Two significantly influential imageries of the 20th Century Space Vernacular portraying and benchmarking Space design for many years to come. Interestingly, it has been said to me that 2001: Space Odyssey is indeed still used by Space Architects to hold design precedent against!

than the usual clinical hard interior landscapes that astronauts experience today.

This design, although continues to be controlled, sterile and against the research does try and open the spaces, it attempts to enable a continued connection to the Earth, but physically, through the growth and sustained habitation of plant-life and optically, through the view of the Earth through the [impossible!] glazing.

The development in the design process comes when adding the Solaris film cinematic technique into the design. The film signifies condensation upon the walls of the Space craft interiors; in Space water globules upon the interior of Space vehicles due to the differences in temperature and in torsional properties of materials, we rarely experience this on Earth [due to gravity]. The experience of dialogue between a humid environment on Earth and a blanketed ‘wet’ environment in Space began to be drawn into the design where humans would experience a damper, more comfortable environment surrounded by views, plants, soft[er] items rather

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has said: “I spent some of my relaxation time working with the biological experiments ... Back on Earth I had never loved tinkering in a garden. But onboard the space station it was as if I woke up all of a sudden to the Oasis apparatus.” (Bluth BJ. & Helppie M., 1987, p.I-43), as with the rest of the information - large, protected glazing could well be served to enable plant-growth.

The garden could serve also as nutrients; food for the astronaut as well as filtration for water and oxygen from carbon dioxide recycling. The bathroom space within the design has taken great consideration in the previous design process and will aim at being successfully designed and incorporated into the design. Naturally, the purpose of the platform is to view the Earth, and consideration of the lense will be developed, detailed and understood with the aim of projecting imagery of the Earth within the habitable environment.

A design choice was made towards a more mechanical feel for the interior and exterior of the architecture. Materials almost being fabricated from other machines or indeed within Space itself such as the ball bearings allowing them to be manufactured into perfect spheres and thus being highly efficient.

The telescopic lense is operated through a series of levers and cogs, its extends to allow focus upon either the Earth (when it is less extended) or the moon (for when it is at its full extension).

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1 1.. h heat eat tr ea ttransfer ran ansf nssffer e ttubes ube ub ess cool transfer 2 2. cco ool tr ool oo tran an nsf sferr ttubes ubes ub be ess 3.. ccompressed chamber 3 ompr om pres esse es sed se d ai airr ch ham mb be er 4.. ccontrol panel 4 on o ntrro oll p anell anel an 5.. a aerial transmitter 5 eria er iall tr tran ran ansm nsm smit itte it te er 6.. d docking mechanism 6 occcki o kkiing cclamp lamp la amp pm echa echa ec h ni nism sm 7.. a transfer conduits 7 air ir ttra ra ans nsfe ferr co fe cond ndui nd uiitss 8.. ssolid 8 ollid waste wasste e 9.. lliq liquid waste 9 iq iqui qui uid d wa wast ste st e water waste 10. wa 10 ate er wa wast ste st ste water transfer and processing 11. wa 11. 11 wate ate er ttr ran ansf nsf s er er a nd p ro oce cess sssin ng 12.. hydroponic 1 12 hyydr d op opon pon o icc 13. carbon dioxide 1 13 3. oxygen 3. oxxyg gen n ffrom rom ro m cca arbon rb bon o d dio io oxiide de

3 4

8 1

Fig.96

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The drawing explodes the details of the functional pieces of the station in a highly diagramatic form which was used throughout the early 1980’s to demonstrate how Spacesuit EVA controls worked. Because of the heavy networked and complex elements within the ‘backpacks’ such drawings were generated to simplify and easily show the interaction of the different electronics and mechanisms.

In Conclusion

Critically thinking through the process of this paper, it is clear to see that the issue of Space is not solely regarding the complexities of scale, but how one might perceive the issues of scale. As Moore and Allen clearly says â&#x20AC;&#x153;... whenever the word [scale] is used, something is being compared with something else.â&#x20AC;? (1976, p,17) It is understandable that this project zooms in and out arbitrarily forgetting the interaction between the reader, the object and the spaces themselves.

S[s]paces are important to people; as are people an intrinsic aspect in making such spaces; the architecture evidently generating such spaces. What is perhaps missing (as with the design process) is clearly the understanding of interaction. One does not simply inhabit a space, but instead uses a space using a product or movement, or both. In Space, where interaction with space is variable the human interactions become highly tactile, every item, surface, everything becomes something different than what we might find here on Earth.

We might use a pen (on Earth) and leave it on the table when we are finished. Tomorrow we will come back to use the pen, satisfied we will find it where we had placed it. In Space, everything must be attached, tied down or tucked away; or it will continue to float (or, confusingly: freefall) around. The interaction of every object to one another is in permanent movement and in constant flux. The rigidity of an object is dependable not of compressional forces but of tensile forces upon it - structure can be softer, more adaptable; but still, the projects within this paper continues to feel

have liked the station better if everything had been the same way up ...” (p.109)

The notion, also of an up and down becomes very much irrelevant within a habitable environment within Space. As Fuller suggests:

As I had concluded in my Vernacular of Space Architecture Essay, 2011; “Space architecture could be described as the hybridisation of functions. When understanding each technology one can understand that each component must perform both in and out of the Earth’s environment.” (p.41) This project attempted to create a Carcerel Eden, intended for Space and its use never developed or intended to be on Earth. However, through its very nature, the methods, details and design inevitably developed from the various elements used and employed on this planet.

Those deeply in-conditioned words ‘up’ and ‘down’ are derived from the millenniums in which man though erroneuously of his universe as an horizontal island ... - in an infinately extended horizontal ocean with an obvious ‘up’ and ‘down’ set of parallel perpendiculars to his flat plane - heaven up and hell down. (Fuller RB, 1970, p.30) Which are very difficult conditions to overcome when designing a space within the openness of Space - aesthetic becomes irrelevant to function and visa versa. We can read from Henry Cooper that the body becomes ever more important in the environment of Space “as the astronauts themselves ... [developed] ... [personal] nadirs and zeniths of their own body-oriented worlds” (Cooper SF H, Jr., 1976, p.71), conversely however, we do read later that “Carr [an astronaut aboard the SkyLab], and most other astronauts would

I believe that, for this reason, the expertise and future developments should also utilise a hybrisation of research, techniques, theories and processes to help better progress the details and environment within Space Architecture; as Gerard O’Neill wrote: ...describing a much more conservative, narrowly Earthlike habitat is that all of us on Earth, who must decide our priorities for the years ahead, must do so on the basis of well-

Oâ&#x20AC;&#x2122;Neillâ&#x20AC;&#x2122;s definitive understanding and forethought towards the architectural design definitely concludes that design tries very hard (and sometimes unsuccessfully) to triumph a future too quickly. First, a full and detailed understanding of the effects of Space has upon the human body and materials before any design or utopia can be realised. This paper has explored the realisation of effects upon the human body - both recent and otherwise which must first be overcome before man may permanently inhabit zero gravity environments with many suggestions and detailed explanations of how might occupants of Space can be made more comfortable while experiencing the multitude of effects the new environment imposes upon the human body.

Fig.100

In Conclusion Conclussio i n

Fig.101

In Conclusion In C Con oncl on clus cl u io us ion n

........................................................................................................................................................................................................................................................................................ .................................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................................................................................................................................................................................ ........................................................................................................................................................................................................................................................................................ ..........................................................................................................................................................................................................................................................199. ............... ......................................................................................................................................................................................................................................In......Conclusion ........................................................... ............................................................................................................................................ ....................................................... ....................................................... ......................................................................................... ......................................................................................... ............................................................................................................................................ ............................................................................................................................................ ............................................................................................................................................ ............................................................................................................................................ ............................................................................................................................................ ............................................................................................................................................ .................................................................................................. .................................................................................................. ............................................................................................................................................ ............................................................................................................................................ ............................................................................................................................................ ............................................................................................................................................ .................................................... ....................................................

The projection will fill the small space with a nostalgic, powerful image which many astronauts, with Tracey Caldwell Dyson resites: “seeing that Earth with so little between you and it … it changes your life.” (The Davis Enterprise, 03 March 2012) Of course, there becomes a disconnection to the Earth through this projection, the scale becomes distorted and the Earth becomes scaleless (not due to its mammoth size and thus the dehumanisation one might feel when gazing upon it from a window) but because it is “hard for a person to perceive the size of something relative to his or her size unless that something is fairly close to that size.” (Moore C. & Allen G. 1976, p.18), the shrinking of the Earth becomes detached and graphically consumable - unlike that of the real view.

The space is detached from any view of the outside, or indeed the view of the projected Earth - this space is for work, not play or leisure. Through the exploration and continued development of the design and written aspect of the paper, conclusively the functional aspect of any Space Architectural design verses a utilitarian theoretical perspective should be adopted thoroughly exploring every room, space and tactile element of the design to ensure that every designed element is specifically appropriate for its intended use. As the suggestion by various astronauts suggests that “any interior will be perceived not only from a utilitarian, but also from an emotional aspect.” (Bluth BJ. & Helppie M.. 1987, p.III-

As important as the interior design may be to control , specifically an inherent zenith and nadir, the environment does not naturally provide this sense of up, down, left right - but an “in” and “out” as Buckminster Fuller suggests in Utopia or Oblivion, The Prospects for Humanity (p.30) which is an important connotation to any design.

Also, any external glazing (portholes - using the ‘Space’ language) have been reinforced with a surrounding golden mesh - protecting the inch thick glass from further damage by micro meteorites which permanently cause worry to the current crew upon the ISS.

Perhaps the other characteristic of the design which specifically adapts to the climate of Space is the adherent lack of an inferred up or down; an important utilisation of space can therefore mean a new efficient series of design solutions allowing a less conventional design approach - possibly generating â&#x20AC;&#x2DC;betterâ&#x20AC;&#x2122; design (as the project first aimed to satisfy).

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Fig.112

Fig.113

Image Table

Front

Inside

Fig.01 Fig.02 Fig.03 Fig.04 Fig.05 Fig.06 Fig.07 Fig.08 Fig.09 Fig.10 Fig.11 Fig.12

TheSurferzone, Image from NASA: ISS002, (25 June 2007), http://xmbill.wordpress. com/2007/06/25/picture-of-the-day-nasa-iss007-sunrise-pacific-ocean/ (Accessed: 17 November 2011)

Silhouettes; final design TheSurferzone, Image from NASA: ISS002, (25 June 2007), http://xmbill.wordpress. com/2007/06/25/picture-of-the-day-nasa-iss007-sunrise-pacific-ocean/ (Accessed: 17 November 2011)

TheSurferzone, Image from NASA: ISS002, (25 June 2007), http://xmbill.wordpress. com/2007/06/25/picture-of-the-day-nasa-iss007-sunrise-pacific-ocean/ (Accessed: 17 November 2011) Exploring the Infinite Gareth Leech, (30 July 2010), SHIFTboston Lunar Base Competition Entry, USA Flickr PhotoShare, (2011), http://www.flickr.com/photos/shiftboston/5261530821/sizes/z/in/ set-72157625474661251/ (Accessed: 29 December 2011) Gallery Online, (nd), http://wallpapersgallery.net/v/Space/Astronaut-Cosmonaut/AstronautCosmonaut-72-4.jpg.html, (Accessed: 18 January 2012) On Astronomical Scale An Exploration of the Infinite Space Exposure Body Movements Film Squish, (nd) http://www.filmsquish.com/guts/?q=node/1276, (Accessed: 5 February 2012) Body Architecture Inside Body Architecture

The Soft Inside The Soft Inside Exploration of the Oscillating Body Architecture Inside the Oscillating Body Architecture Human Face; the Inside, Sketch Cutting away at the cheek The Human Heart Lungs Face and Collar, Sketches Compiled Understanding the Human Eye, Sketch The Circulatory System Development of the New Space Suit, Conducted at MIT, Boston, USA First Space Suit Design Exploration of the Veins; How Might They Look Upon the Outside Exploration of the Veins in Explosion Vein Patterning The Pioneering Space Suit The Pioneering Space Suit The Pioneering Space Vehicle The Optic Closed The Optic Open Concept of the Bubble External Skin

Concept of the Bubble External Skin Movement Exploration of the Bubble Vehicle Imagining the Futuristic, Oscillating Motion Vehicle The Futuristic Vehicle Close Up View ‘Sliding’ Through Space The Carceral Serenity The External Carceral Space Station number 1 Space Station number 1 Space Station number 1 Understanding Las Vegas Geochange, (nd) http://geochange.er.usgs.gov/sw/changes/anthropogenic/population/las_vegas/ (Accessed: 18 January 2012) The Growth of the City Final City Development Programmable ‘Nanotechnology’ Geaving Graphene The Space Stations’ Development Exploring the ‘Nanomite’ Mirroring Desert and Space; The Coincidences The Panoptic Eye Space; The Anxiety

Earth Rise, http://science.nasa.gov/science-news/science-at-nasa/2009/17jul_discoveringearth/ (Accessed: 10 November 2011) Gazing Toward the Blue Marble At the Panoptic Station Station, Earth, Moon The Panoptic Station The Panoptic Station The Panoptic Station The Panoptic Station Asleep in Space Asleep in Space The Clipping Mechanism, 1:1 Detail Sketch The Interior Material Model Sketch Applying the Material, Sketch The Clipping and Skin Wall System, 1:1 Detail Sketch Puncturing the Skin Wall, 1:1 Detail Sketch Sketching the Bathroom Interior Exiting the Bathroom Excluding the Air Bathroom Section Development Bathroom Section Development Bathroom Wall, 1:1 Detail Section Sketch

Bathroom Wall, 1:1 Detail Section Sketch, Water as Tensional Surface Alternative Corner Detail The Hand Grip, 1:1 Detail Sketch The Bathroom Wall Surface Diagram, Camera Obscura Toward the Earth Ballbearings Use, Detail Sketch Inside the Sleeping Capsule Engineered in Space; Perfect Balbearings Detailing the Cleats Mechanical Cogs; Inspired from the Mechanical Vernacular on Earth Extending of the telescope Space’s Garden of Eden The Panoptic Lense Looking Upon Earth First Design of the ‘Private space’ Connecting Corridors Further Image and Architecture Development Growing Plats in Space First Panoptic Viewing Platform Sketch External View Sketch Engineering Diagram of Viewing Platform’s Components Space Suit Component Diagram, Bluth, BJ. Helppie M., (1987), Soviet Space Station Analogs, 2nd Ed. Washington DC, NASA (page 237 (II)-20)

The Platform for Space Section: The Panoptic Viewing Platform Section: The Panoptic Viewing Platform Section: The Panoptic Viewing Platform Interior view into the Living space and Garden Area Interior view through a connecting hatch Gazing from the Sleeping Capsule at the Earth’s Projection In the Control Room Inside the Telescopic Tunnel External view; Viewing the Bottom of the Platform The Telescopic Lense Maintenance Stair Ladder along the External Fabric of the Platform Viewing the Whole Platform from Space The ‘Mystical View’ of the Platform Toward the Moon; The Platforms Silhouette The Platform in Space: Orbiting our Earth

Bibliography: Literary

Banham R., (1976), Megastructure, Urban Futures of the Recent past, London: Thames and Hudson Baudrillard, J. (2007), Symbolic Exchange and Death, 8th Ed., London: Sage Publication Ltd. Bernal JD., (1939), The Social Function of Science, London: George Routledge & Sond Ltd. Bentham, J., Bozovic M. (Editor), (1995), The Panoptican Writtings, New York: Verso Burrough B., (1999), Dragonfly - NASA and the crisis aboard MIR., London: Fourth Estate Limited

Cooper SF H, Jr., (1976), A House in Space, New York: Holt, Rinehart and Winston Davis M., (1998), Ecology of Fear: Los Angeles and the Imagination of Disaster, London: Metropolitan Books Duhem P., (1985), Medieval Cosmology; Theories of Infinity, Place, Time, Void, and the Plurality of Worlds, 6th Ed.,, United States of America: University of Chicago Press Ltd Dyson F., (1979), Disturbing the Universe, 3rd Ed., New York: Harper & Row, Publishers

Foucault M., Gordon C., (Editor), (1980), Michel Foucault, Power/Knowledge: Selected Interviews and Other Writings 1972-1977, 10th Ed., Hemel Hempstead, Harvester Wheatsheaf

Griffiths J., (2011), Manifest Destiny, A Guide to the Essential Indifference of American Suburban Housing, London: Architectural Association Häuplik-Meusburger S., (2011), Architecture for Astronauts, An Activity Based Approach, Mörlenbach: Germany: Springer-Verlag/Wein Katz E., "Is there a Place for Animals in the Moral Consideration of Nature?", Light A., & Rolston III H., Environmental Ethics, An Anthology (2002), 2nd Ed., Oxford: Blackwell Publishing Kiesler F., (1959), Frederick Kiesler’s Endless Search, New York: André Emmerich Gallery Leech G., (2010), The Final Frontier: Three Generations of Space Architecture, Oxford Lovelock J., (2009), The Vanishing Face of Gaia, A Final Warning, 2nd Ed., Suffolk, UK: Penguine Books

Schmidt S. & Zubrin R. (Editors) (1996), Islands in the Sky: Bold New Ideas for Colonizing Space, (10th Ed.), USA: John Wiley & Sons Inc.

Scott HA. & Sherwood B., (2009), Out of this World: The New Field of Space Architecture, 5th Ed., Reston: Virginia, American Institute of Aeronautics and Astronomics, Inc. Teyssot D., (1994), Flesh, London: Triangle Architectural Publishing Turner FJ., (1986), The Frontier in American History, 1st Ed., USA: University of Arizona Press Topham S., (2003), Wheres My Space Age?, Prestel, New York Wymer CL., et al., (1996), Plant Cell Growth Responds to External Forces and the Response Requires Intact Microtubules, Pennsylvania: The Pennsylvania State University, Department of Biology

Bibliography: Journal & Analog

Adams CM., (nd) Sociokinetic Analysis as a Tool for Optimization of Environmental Design, Experimental Test paper conclusive writeup Banham R. The Triumph of Software, New Society, (October 31, Vol 12, No 318, 1968) pp 629-630 Bluth, BJ. Helppie M., (1987), Soviet Space Station Analogs, 2nd Ed. Washington DC, NASA Cameron EA., et al., (1990), Design of Internal Support Structures for an Inflatable Lunar Habitat, Austin, Texas: The University of Texas at Austin Curran JF., (2006), BASE: Bubble Architecture Space Environments, San Jose: American Institute of Aeronautics and Astronautics, Inc.

Jennings J., Is Outer Space the next Architectural Frontier, Building Design, (January 29, Issue 1901, 2010) p.9 Petrusevski, L. et al., (n.d), Self-replicating Systems in Spatial Form Generation - The Concept of Cellular Automata, Serbian Ministry of Science and Technological Development Unknown Author, "Technosy: Nowhere to hide", New Scientist, 4 November 1995

Bibliography: Internet & Website

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ArchiMorph, (24 July 2007), http://archimorph.wordpress.com/2007/07/24/self-replicating-nanobots/ (Accessed: 31 January 2012)

Ask An Astrophysicist, (03 June 1993), http://imagine.gsfc.nasa.gov/docs/ask_astro/answers/970603.html, (Accessed: 22 November 2011) Baudrillard J., (n.d), The European Graduate School, http://www.egs.edu/faculty/jean-baudrillard/articles/ simulacra-and-simulations-i-the-precession-of-simulacra/, (Accessed: 3 November 2011) Bellows A., (27 November 2006), http://www.damninteresting.com/outer-space-exposure/, (Accessed: 24 November 2011) Czarnik TR., (n.d) http://www.geoffreylandis.com/ebullism.html, (Accessed: 23 November 2011)

Moran A., (16 September 2010), A New Look at Cyborg Astronauts Colonizing the Solar System, http:// digitaljournal.com, (Accessed: 14 November 2011)

NASA 3D Rescource page, (12 September 2008), http://www.nasa.gov/multimedia/3d_resources/assets/ agena_c.html, (Accessed: 03 February 2012) Nixon D., BDOnline Magazine, International Space Station, http://m.bdonline.co.uk/5000525. article?mobilesite=enabled, (Accessed: 01 November 2010) â&#x20AC;&#x2DC;Mattâ&#x20AC;&#x2122;, Space Fellowship, (18 October 2009), http://spacefellowship.com/news/art14545/expedition-21flight-engineer-nicole-stott-grows-plants-in-space.html, (Accessed: 02 April 2012) Orta L., (nd), London College of Fashion, http://newsevents.arts.ac.uk/event/operational-aesthetics-lucyorta/, (Accessed: 05 April 2012)

Bibliography: Film, Movie & Documentary

2001: A Space Odyssey, (1968), Directed by Kubrick S., Based on the book by Clarke CA., New York: MGM Alien, (1979), Directed by Scott R., Story by O'Bannon D., & Shusett R., United States: 20th Century Fox Barbarella, (1968), Directed by Vadim R., Based on the book by Forest JC, France: Paramount Pictures Gold Rush, The (1925), Directed by Charlie Chaplin, United States: United Artists How to Grow a Planet, “2. Life from Light”, (2012), Hosted by Professor Iain Stewart, Factual programme for the BBC Landing on the Moon July 20 1969, (Uploaded 2007), http://www.youtube.com/watch?v=sTBIr65cL_E, Accessed: 18 October 2011 Orbit: Earth’s Extraordinary Journey (2012), Episodes 1 through 3, Hosted by Kate Humble and Dr Helen Czerski, Factual programme for the BCC OxArch; Future Architects: Debate Series, (24 November 2011), Technological Architect; Alistair Parvin speaking about Architecture 00:/, The WikiHouse