DESIGN RESEARCH PORTFOLIO
PREFACE - DIGI - TECH UNIT 13 MDP - PORTFOLIO
PROJECT STATEMENT Digi-Tech is a project between two states, the physical and the digital. The project aims to produce an architecture that manifests as an expression of a new ‘architectural movement’: Digi-Tech, a variation on the terms ‘low-tech’ and ‘high-tech’, an approach to architecture that engages systems and spaces that require, sustain, or involve predominantly digital environments. Every drawing is always in-between these two states, assimilating physical and digital forces in the making of a new architecture. The Project aims to capture qualities of DIGI-TECH’S characteristics and results in an eventbased pavilion, designed to be simultaneously produced and consumed by its users. The project is sited within the Fak’ugesi Digital Innovation Festival, an annual tech-festival that takes place at the Tshimologong precinct in Braamfontein, Johannesburg. The festival attracts industry leaders in technological innovation and creative minds from around the country focussing it’s activities on digital innovation. The DIG-TECH pavilion will be a central attraction for the festival and will take various forms over the five-week festival as it serves as host to a variety of experiments, workshops, masterclasses, exhibitions and collaborative events.
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PREFACE - DIGI - TECH UNIT 13 MDP - PORTFOLIO
DECLARATION I, Steven John Moore, hereby declare that the work in this Masters design portfolio submitted, apart from the help recognized, is my own work and has not previously been submitted to another university or institution of higher education for a degree.
Signed : Date : October, 2018
ACKNOWLEDGMENT Firstly, I must express my very profound gratitude to my parents Wilfred And Ronell Moore and to my Girlfriend Pico van Klaveren for providing me with unfailing support and continuous encouragement throughout my years of study. This accomplishment would not have been possible without them. Then I would like to thanks all the lecturers and fellow student throughout the years that have supported me during my studies, all the generous inputs and help will never be forgotten.
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And then last but not least, Eric Wright and Claudia Morgado. Thank you for all the time and effort that has gone into this thesis. You have definitely brought out the best in the project and me as an individual. Thank you.
Graduate School of Architecture | University of Johannesburg
UNIT 13 MDP - PORTFOLIO
PREFACE - DIGI - TECH
CONTENTS
001 |
Digification
003
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Invisible Landscapes
021
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The Connection
027
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The Grid
053
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The Mine
077
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The Between
099
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Digital Site
104
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What is Site
109
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The Pavilion
179 |
Annexure [A] MDP M1 year [ 2017 ]
193 |
Annexure [B] History and Theory
197 |
Annexure [C] Business Plan
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ANNEXURES
PREFACE - DIGI - TECH UNIT 13 MDP - PORTFOLIO
“The digital age has four qualities that will make it successful: decentralizing, globalizing, harmonizing and empowering. Being digital will change the future in terms of providing access, mobility and to affect change.� Nicholas Negroponte
EXPANDED ABSTRACT
The proposed project is situated within our physical reality, a world that is rapidly and increasingly being digitised. The proposal argues that although global forces of capital are perpetually creating, claiming and commodifying new territories within the digital realm, these territories cannot be separated from the physical reality to which they are associated with and made possible by. In this work I coin the term Digi-Tech, a variation on the terms ‘low-tech’ and ‘high-tech’, to talk about systems and spaces that require, sustain, or involve predominantly digital environments. My understanding of the Digi-Tech territory is embodied in the unique characteristics of cryptocurrency. Cryptocurrency, a decentralized digital currency, operates independently from the traditional global banking system. The value of cryptocurrencies is determined by the computing power of interlinked physical computers on a global network of users. This reliance on the physical to create value in the digital is where my research and Major Design Project is located. The term Digi-Tech is also employed as an evolved version of the late 70’s architectural modernist movement, ‘High-
Tech’, whose originators include Norman Foster, Richard Rogers and Renzo Piano. If High-Tech architecture embodies a belief in the power of new technologies to improve the world, so too does Digi-Tech. If ‘High-tech’ did this by incorporating elements of the contemporary hightech industries and advanced construction techniques into building design, this project aspires to similar leaps forward, imagining how Digi-Tech assimilates digital forces in the making of a new architecture. Johannesburg will be the biggest city in Africa by 2030 in terms of its GDP (Phakathi 2016: 1). The city once fuelled in its aggressive development by the exploitation of natural resources, is now in a state of flux. Currently the economy is shifting states from relying on its geological advantage to now becoming more reliant on information exchange and digital trade value. My Major Design Project identifies three spaces in Johannesburg where physical-digital reliance can be observed; The Johannesburg Stock Exchange in Sandton, North of Johannesburg, City Deep, Africa’s largest inland port South East of Johannesburg CDB and the Tshimologong precinct in Braamfontein, known for the progressive nature of the creating of digital innovation and content. These study sites serve as informants to the physical and digital reliance’s in the proposal. It is the intent of the project to push the current potential of this shifting state between the physical and digital to new architectural possibilities for an inevitably more-digital future. Our cities are becoming smarter and our lives are beginning to shift into more digital networked spaces of work, social interaction and escapism. This project puts forward alternative ways to navigate these new territories, allowing people to access, experience and better understand the Digi-Tech territory. The Major Design Project, Digi–Tech, Architecture Between Physical and Digital States, identifies Digi–Tech as a new architectural movement and uses this architectural classification as a driver for a temporary event-based pavilion located within the Fakugesi digital innovation festival at the Tshimologong precinct in Braamfontein, Johannesburg. The project aims to construct a fleeting version of what Digi-tech can be conceived to be.
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The American architect, Nicolas Negroponte, known for his work on the shift between the physical and digital states of value, critiques modern society’s means of consumption within the digital economy. He states that “the change from atoms to bits is irrevocable and unstoppable, the changes are exponential - small differences of yesterday can have suddenly shocking consequences tomorrow” (Negroponte 1995:185). This proposal takes on Negroponte’s four points of critique as potential architectural informants for successful futures - an architecture that is decentralised, global, harmonious and empowering. Negroponte made a variety of technological predictions in 1984 that ranged from touch operated devices to smart multi-functional televisions. In the 80’s these would have seemed farfetched, however they are now commonplace in most households. Negroponte frames the shift from physical to digital living as moving from atoms to bits where physical goods are categorised as atoms and digital information as bits (Negroponte 1995: 12). Modern living has developed into a complex set of physical and digital reliance’s. From simple text interfacing for communication to super-smart organisations, it can be argued that all urban dwellers live in-between the bit and the atom, at varying scales, in varying states.
Bran c h e d s e ri e s s i t e e x pl o rat i o n
Re v i e w
PREFACE - DIGI - TECH
R e s e a r c h Tr i p [Durban]
K e y D e v e l o pm e n t pr o j e c t i n i t i a t i o n
P r oj e c t s i t e i d e n t i
Review
M a i n Na r i t i v e
UNIT 13 MDP - PORTFOLIO
P r o j e c t s t a g e du r a t i o n [ i n f u a n c e ]
PROCESS DIAGRAM [Project circuitry]
S I TE C O NTEXT M A P PIN G
V I A BI L IT Y
M APPI NG TO O L
L O C A LI T Y
D I GI FI CATI O N
This is the project circuitry; this diagram depicts how connections were made throughout the process and how information flows between each idea, graphically connecting the central questions of the project.
O u t come of r e s earch tri p E vo l u t i o n o f t h e g ri d t o t h e mi n e
Im pl i m e n t a t i o n o f In f r a s t r u c t u r e
Q3
Realisation of the nature of site Q2
MDP forms as a pa v i l i o n
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Q1
Review
Review
ific a t i on
M D P P r o j e c t s t a g e du r a t i o n [ i n f u a n c e ]
The us e r a s c o re p ri nci p l e of D I G I - T E CH
A ppl i c a t i o n o f A R A pp de v e l o pm e n t
D I GI -TEC H PAV IL IO N
PRO GRAM M O D EL
PROTOTYPE S IT E
S I T E
PROTOTYPE
T E CT O N I CS
THE GRI D
I N F R A ST RU C T U RE
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UNIT 13 MDP - PORTFOLIO
PREFACE - DIGI - TECH
Digi-Tech explores the nature of spaces in-between the physical and the digital. The interface is used to explore these possibilities is of these inbetween states. The icons below will appear in the project introduction if the digital augmentation process was used in the process or presentation of the project.
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INTERFACING
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CHAPTER ONE
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D I G I F I C AT I O N
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DIGIFICATION Digification is a series of work that surveys the continuous consumption of technology and digital information.
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CHAPTER TWO
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INVISIBLE LANDSCAPES
INVISIBLE LANDSCAPES The comparison of two sites where blatant and latent digital consumption are compared: Sandton CBD (wealth of the digital) and City Deep (wealth of physical goods). In this process a mapping instrument was designed and manufactured in order to uncover how the context of these spaces influences the viability of a future processes of consumption. The context study results in unique context ‘sentences’ where digital capital is quantified and coded.
Media 01
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Digital Mapping Device The mapping device is developed to accurately map the surrounding context ‘s digital infrastructure. It is made with software applications and digital hardware such as Arduino circuitry.
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JSE SANDTON
INVISIBLE LANDSCAPES
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JSE Sandton Mapping Result The circular mapping result of scanning digital infrastructure in front of The Johannesburg Stock Exchange
City Deep
Inland Port
The circular mapping result of scanning digital infrastructure inside city deep inland distribution port.
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CITY DEEP INLAND PORT
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INVISIBLE LANDSCAPES
CHAPTER - 2
JSE SANDTON
Digital Spacial Mapping [ JSE ] The extraction of 3D date from the mapping tool to understand the digital infrastructure in a spacial manner.
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CITY DEEP INLAND PORT
Digital Spacial Mapping [ City Deep ] The extraction of 3D date from the mapping tool to understand the digital infrastructure in a spacial manner.
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INVISIBLE LANDSCAPES
CHAPTER - 2
JSE SANDTON
Digital Spacial Mapping [3D Print ] 3D print of the sites became artefact’s to understand and study the context that make up the digital fabric.
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CITY DEEP INLAND PORT
Digital Spacial Mapping [3D Print ] 3D print of the sites became artefact’s to understand and study the context that make up the digital fabric.
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INVISIBLE LANDSCAPES
CHAPTER - 2
JSE SANDTON
Digital Mapping Context Study The context study provided the understanding of what context contribute and what distract from the creating of a digital economic fabric.
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CITY DEEP INLAND PORT
Digital Mapping Context Study The context study provided the understanding of what context contribute and what distract from the creating of a digital economic fabric.
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INVISIBLE LANDSCAPES
JSE SANDTON
CITY DEEP INLAND PORT
Linear Context Study [ Economic ] The comparison of how economic land use informs and contributes to the digital economic fabric.
JSE SANDTON
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CITY DEEP INLAND PORT
Linear Context Study [ Residential ] The comparison of how Residential land use informs and contributes to the digital economic fabric.
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INVISIBLE LANDSCAPES
JSE SANDTON
CITY DEEP INLAND PORT
Linear Context Study [ Open Space ] The comparison of how open space informs and contributes to the digital economic fabric.
JSE SANDTON
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CITY DEEP INLAND PORT
Linear Context Study [ Commercial ] The comparison of how Commercial land use informs and contributes to the digital economic fabric.
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INVISIBLE LANDSCAPES
CHAPTER - 2
JSE SANDTON
Digital Economic Fabric [ JSE Sandton ] The digital landscapes shows the economic landscapes compiled from the digital infrastructure of a the site.
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CITY DEEP INLAND PORT
Digital Economic Fabric [ City Deep ] The digital landscapes shows the economic landscapes compiled from the digital infrastructure of a the site.
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CHAPTER THREE
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THE CONNECTION
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THE CONNECTION During the research trip to Durban the interest was to identify spaces of the production and consumption of goods. The connection was made to understand the infrastructure that will be required to create an immediate connection between the users and the producers of products.
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Goods Mega Structure [ PORT ] The mega structure connection point in Durban Harbor.
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Mega Structure Connection [ Durban CBD ] The connection point within the city shows how people will access people within the city.
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CHAPTER FOUR
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THE GRID
THE GRID A Manifestation of the digitization of our way of consumption was made by comparing a new digital society to the fundamentals of cryptocurrency. A decentralized network that thrives on the collective potential of the people that inform what the city can become. The infrastructure that allows this to happen is included at the Mine and the Cloud.
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THE MINE
THE GRID
THE USER
THE USER
THE MINE
customers, contributors, participants, human and non — human
The creation of the new decentralized information grid
THE CITY GRID
THE CLOUD
THE CITY
global internet and infrastructure (Google, Amazon, Facebook)
actavly reconstructed cities with a new understanding of proximity
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THE CLOUD
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THE GRID
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THE USER
The User [ Conceptual Diagram ] The User explores the collaborative co-use of the grid. Users have the collective potential to augment and transform the grid as they interact with it.
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The User [ Model ] The physical model is used for the initial digitization process.
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Photogrammetry data capture The digitization process shows how the physical model is transformed into a digital form that is set out with point cloud data and its relevant X,Y and Z coordinates.
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The User [ Point Cloud ] The point cloud constructed a digital version of the initial physical model.
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THE GRID
CHAPTER - 4
THE MINE
The Mine [ Conceptual Diagram ] THE MINE
The Mine enables decentralized systems. The mine is not occupied by users, it simply serves the users of the grid. The creation of the new decentralized information grid
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The Mine [ Model ] The physical model is used for the initial digitization process.
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Photogrammetry data capture The digitization process shows how the physical model is transformed into a digital form that is set out with point cloud data and its relevant X,Y and Z coordinates.
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The Mine [ Point Cloud ] The point cloud constructed a digital version of the initial physical model.
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THE GRID
CHAPTER - 4
THE CLOUD
The Cloud [ Conceptual Diagram ] The Cloud is a catchment facility of digital information. When we image Facebook, Amazon or Google, they have no physical scale when looking at information that user interacts with. Here, looking at the scale of the constant production of information and how this will impact the grid with it’s continuous build-up of digital information.
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The Cloud [ Model ] The physical model is used for the initial digitization process.
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THE GRID
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Photogrammetry data capture The digitization process shows how the physical model is transformed into a digital form that is set out with point cloud data and its relevant X,Y and Z coordinates.
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The Cloud [ Point Cloud ] The point cloud constructed a digital version of the initial physical model.
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THE GRID
CHAPTER - 4
THE CITY GRID
The City Grid [ Conceptual Diagram ] Within the grid, cities are actively being reconstructed by the grid to enhance the flow of information between the user and the grid. The dynamism of the city layer creates the platform for the collective users to interact and contribute to the grid.
THE CITY actavly reconstructed cities with a new understanding of
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The City Grid [ Model ] The physical model is used for the initial digitization process.
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CHAPTER FIVE
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THE MINE
THE MINE The prototype is developed as an evolutionary state of the GRID. The USERS are seen as ‘inputs’ that populate the digital. The MINE is seen as the mechanical device that allows the interchange between the digital and the physical. And the CLOUD is a digital record of the user inputs.
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THE MINE
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DIGITAL Digital prototyping generates as series of ‘output models’ that change in complexity, quality and appearance when the digital aspects of the inputs are manipulated.
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G-code slicing The first digital manipulation shifts and slices the G-code read by the 3d printer.
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File Reduction This manipulation was made through reduced complexity of the model; lowest file size possible without losing noticeable form.
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Code Duplication The G-code for this model was duplicated at 20-line intervals of code.
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Mechanical The Mechanical prototyping investigates how the output model will change when the Mechanically driven production methods are manipulated/altered. Mechanical changes were made to the 3D printer used to produce the output models.
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Production Time The average time for the reproduction of a model was 3hours, this model was forced to finish within 30min.
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No Mechanical Support This model was produces by using the raw digital version without any support, ‘fixing’ or digital modifications from the machine.
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Texture This model was produced with the highest density possible, resulting in a previously undocumented surface texture.
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User / input This series of work explores the effect of initial input values in the digital reproduction of a physical site. Investigations include limiting the number of photos in photogrammetry that form the digital model.
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Input count [ 25 ] This model was produced using only 25 images.
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Input count [ 55 ] This model was produced using only 55 images.
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I n p u t c o u n t [ 11 0 ] This model was produced using only 110 images.
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CHAPTER SIX
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THE BETWEEN
THE BETWEEN In this work, a fully-formed digital version of the old Park station in Newtown Johannesburg is produced through various means and methods. This methodological process of digitization forms a primary part of the processlanguage of DIGI-TECH.
Media 02
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Old Park Station [Johannesburg]
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This stage a site was chosen for its prototypical value. To attempt the first implementation of Digi-Tech. The site was chosen for its reference historical architectural value, a protected physical site.
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Old Park Station [Johannesburg] Digital
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The digitization proses requires a detailed digital version of the prototyping site. The Following point cloud shows the digital version in relation to the real.
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Old Park Station [Johannesburg] Digital The digitization proses requires a detailed digital version of the prototyping site. The Following point cloud shows the digital version in relation to the real.
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Inside the Interface Images taken from inside the headgear during the presentation where presentation was places within the old park station.
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CHAPTER SEVEN
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D I G I TA L S I T E
DIGITAL SITE This work explores the dynamic nature of how DIGI-TECH constructs spaces. Within the exploration SITE and SCALE are questioned; what do these terms mean when working in between the digital and the physical? Through the work, both site and scale become referential and interpretable. The fixed site, existing landscape and building, is no longer seen as built form but rather as a complete continuous topography.
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Servo servo1; Servo servo2; Servo servo3; Servo servo4;
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Servo servo5;
int servoPos = 0; int servoPos2 = 90;
void setup() { servo1.attach(3); servo2.attach(5); servo3.attach(6);
D I G I TA L S I T E
servo4.attach(9); servo5.attach(10); }
void loop() { servo4.write(63); servo1.write(60); servo3.write(58); servo5.write(75); servo2.write(2); delay(500);
servo5.write(170); servo2.write(83); servo3.write(150); servo1.write(150); servo4.write(152); delay(2500);
ARDUINO UNO
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MICRO SERVO MOTOR
REFERENCE QR BOX
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Infrastructure The Model produced an augmentation that is seemingly more infrastructural to the original model..
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Classical This augmentation found reference to classical architecture, the use of columns and arches.
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CHAPTER EIGHT
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W H AT I S S I T E ?
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WHAT IS SITE ? The pavilion questions the relevance of site within the digital world. What is â&#x20AC;&#x2DC;siteâ&#x20AC;&#x2122; when the limits and constraints of the traditional understand of site now become unfixed and can be reformed through mixed collective input?
Stockholm , Sweden 59°19'46.48"N 18° 4'7.33"E
City Deep Market , Johannesburg 26°13'47.59"S 28° 4'48.06"E
JSE Sandton, Johannesburg 26°11'41.32"S 28° 1'54.52"E
Copenhagen, Denmark
Tshimologong, Johannesburg 26° 6'12.06"S 28° 3'26.20"E
Locality site construction The following drawing is done in collaboration with two research partners in Sweden and Denmark. Those two sites combined wit three local sites , informed the creation of these spaces.
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55°40'35.27"N 12°34'10.42"E
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CHAPTER NINE [MDP]
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T H E PAV I L I O N
THE PAVILION The pavilion will be the first experience of DIGI-TECH qualities. The project is sited within the Fakâ&#x20AC;&#x2122;ugesi Digital Innovation Festival, an annual tech-festival that takes place at the Tshimologong precinct in Braamfontein, Johannesburg. The DIG-TECH pavilion will be a central attraction for the festival and will take various forms over the five week festival as it serves as host to a variety of experiments, workshops, masterclasses, exhibitions and collaborative events of varying scales and arrangements.
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Image by : www.fakugesi.co.za , winning entry for the illustration competition, Sonwabo Valashiyaâ&#x20AC;&#x2DC;s
Fakâ&#x20AC;&#x2122;ugesi African Digital Innovation Festival Fakâ&#x20AC;&#x2122;ugesi African Digital Innovation Festival is a non traditional electronic arts or media festival. In this its objective is not only to showcase existing work, but allow the festival to become a location for making and interrogating digital cultures.
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Tsomologong Precinct Point cloud Point cloud generated by 3D scanning the site using a drone and photogrammetry software
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Tsomologong Precinct Point cloud Point cloud generated by 3D scanning the site using a drone and photogrammetry software
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Introduction of the mine Expressing digital computational power: Antenna-like infrastructure. Site model point cloud generated by 3D-drone scanning and photogrammetry.
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3D scanning of site / Context Fleet of drones to survey the site and new topography. DIGI-TECH sees the physical as topography to inhabit. The mine will extract planes of new topography where new architecture can manifest.
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Planar Computation for pavilion response The mine will extract planes of new topography where new architecture can manifest.
Graduate School of Architecture | University of Johannesburg
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Infrastructural grid The mine surveys topography and logs the real-time fluctuations of users in the space, from this data it instructs the pavilionâ&#x20AC;&#x2122;s infrastructure to morph and change
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Circulation The circulation is intelligently formed around events and use
Graduate School of Architecture | University of Johannesburg
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Augmentation of spaces The resolution of the spaces within the pavilion will be determined by how users interact with and contributes to its creation
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Augmentation of spaces [ Medium resolution ] The resolution of the spaces within the pavilion will be determined by how users interact with and contributes to its creation
Graduate School of Architecture | University of Johannesburg
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Augmentation of spaces [ High resolution ] The resolution of the spaces within the pavilion will be determined by how users interact with and contributes to its creation
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TRANSVERSETERRITORY Graduate School of Architecture | University of Johannesburg
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3D Print Site Model Referential site models. The digital reality is augmented onto/into site when viewed through the headset.
Graduate School of Architecture | University of Johannesburg
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3D Print Site Model Referential site models. The digital reality is augmented onto/into site when viewed through the headset.
Graduate School of Architecture | University of Johannesburg
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Context as site
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The following is a contour model of the physical, built, context of the project site.
Context as site DIGI-TECH looks at the context of the project as topography rather than built form. This is how the rich nature of a current site and its occupation can inform and produce multiple versions of DIGI-TECH.
Graduate School of Architecture | University of Johannesburg
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Medi
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PROJECT REFLECTION In 2017, in Unit 11, I explored narrative architecture on a digital platform. I entered Unit 13’s ‘Transverse Territories’ year with these interests. From the outset I questioned the validity and possibility of a digitally oriented study. When looking at territories of production and consumption I realised that this interest was central to many current modes and processes of how we access and consume those things that we desire. Through the year, and in conversation with a variety of collaborators, the project shifted from an interest in digital economy to a question about the relationship of the digital and the physical. The resultant project steers away from quantifying digital value in normative terms like cryptocurrency and blockchain, seeking out a new unchartered territory for an architecture that is between states of value, between information and architecture, and between sites. The proposed pavilion is not localised, it does not simply house innovation but rather it allows for collective innovation through its occupation and use. It becomes a speculative space, only accessible at the interface of the digital and the physical, which can be accessed, altered and recorded. An important realisation during this year’s process was the questioning of the relevance of site to architects as our practice, tools and view of the world becomes more digitally driven. The work proposes a second site on top of the physical sites we are familiar with. This new site lives in the cloud, the mine and the user and its relationship to the physical opens up new territories for exploration.
TRANSVERSETERRITORY Graduate School of Architecture | University of Johannesburg
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THE MEMORY VAULT
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ANNEXURE [ A ] Johannesburg has degenerated into a divided city. The city controlled by the memory vault has forcefully adopted methods of extreme segregation. The people of Johannesburg, are forced to undergo an augmentation process that will allow the vault to track and monitor them. This adding to the ever-growing panopticated skyline. The film follows conflicts of a young city goer as he become opposed to the extensive segregations within the city, he decides to challenge the systems in place, and free the city form the memory vault.
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Gatekeepers Frontier The gatekeeper series is the manifestation of the different buffer zone implementations within the segregated landscape.
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Vault Storage The memory vault manifests in a variety of scale. The storage looks at the physical storage of memories within the landscape which is used to control the user in their every day life. This process is based of the method the brain follows to create and store new memories: encoding, storage and retrieval
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Vault Landscape The memory vault landscape is the empirical 3D, diagrammatic implementation of the segregated landscape. The form based on strategies of urban scale segregation laws of 1913 Johannesburg.
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THE
MINDSET SPACE [TH.] ANNEXURE [ B ]
Will it blend? - Lebbeus Woods's Radical Reconstruction and PolyFauna App - Radiohead and Universal Everything
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This essay investigates the generative nature of the Radiohead and Universal Everything's PolyFauna App and Lebbeus Woods's Radical Reconstruction. The two works will act as critiques for one another when looking at the creation, occupation and interaction of space.
In order to see an object, we must be separated from it. A space must exist between us and the object. Therefore, we imagine a space around the object, and also around ourselves, because, at some stage in our mental development, we realize that we, too, are objects. Space is the medium of our relationships with the world and everything in it, but, for all of that, we do not experience it in a palpable, physical sense. We must think space into existence (Woods 2012: 5).
The PolyFauna App creates a primitive audio-visual world that transcends the user beyond the normal bounds of the perception of space. The boundlessness combined with the individuality of each experience could feel like an impromptu, naturally formed space. However, this utopian view of the creation of space is challenged by Woods's destructive method of creation. He states that as the context of space, too much has been suffered and too much has been lost to quickly forget and move on (Woods 2012: 5). The erasure of space must be respected as this effect embodies the critical history of space. Without the acknowledgement of its historical relevance, inhabited space will never evolve to become rich and meaningful. Understanding the nature of where opportunities of a new space lies, Woods described these evolutions of spaces as ‘Freespace’ (Woods).
Freespace is difficult to occupy and requires inventiveness to be able to inhabit it (Woods 2012: 5). The conceptual nature of Freespace constructs a flexible and open structure to house. However, these spaces become useless until it is occupied.
This same theory applies to the occupation of space in the Polyfauna app. The experience of this new, multi-sensory environment is completely disregarded up to the point where the user decides to immerse them into the sensory world by opening the app. The ever-evolving environment within the app can be its own ‘Freespace’ where there are limitless possibilities for inventiveness, described by the creators as the “imagined creatures of our subconscious (McGovern 2014).
“Freespace” in both the app and Woods' theories become the boundless possibility to expand beyond the normal limits of imagination. Both new possibilities create a blank canvas for the interpretation of what space could be to the intended user's perceptions. The distinctive nature comes in when the interaction of the user and the space comes under scrutiny.
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‘Freespace’ constructs a framework for new possibilities without bridging to individuality of the new and old.
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This process leaves reward in the making, the interaction of user and the outcome, where the user benefits a unique experience through doing or experiencing, much like the PolyFauna, where there are unique experiences and the user encounters keep changing with each use. The app interacts with the user and becomes a product of action, as the user is involved in a constant process and movement as they need to walk and move through the space; tilting, turning and drawing to interact (Polyfauna 2014).
- APPENDIX C -
As per Woods, space that has been abandoned reverts to the common domain where it emphasises the reality of an ever-renewable beginning, thus the Polyfauna app complies with the same ideals of an ever-renewable beginning and as each time it is opened or viewed, the landscape changes (PolyFauna 2014). Woods believes that ‘the use of salvage provokes a new ingenuity; the idiosyncratic shaping of new materials’ (Woods 2012:5). By reusing a product, one can get a new desired outcome. This is also evident in the PolyFauna app (2014) where a collaborative process between artists of atmospheric landscapes (JW Turner & Peter Doig and graphic software developer Karl Sims), created the desired outcome with Radiohead’s sketchbook (Polyfauna 2014).
Conclusion: Woods’s theory of radical reconstruction forms a perception that the only way for the creation of space, is when the user acknowledges the past traumas (history, users, experiences and time) to form a basis of the complex nature of a context, contradictory to the PolyFauna app that creates a complex environment from nothing but unique to the user. Blending these two theories will form an understanding that contradicts the fundamentals of the creation of space of each individual concept. Thus, mixing these two elements will form an inclusive insight of the integral understanding, whereby the PolyFauna app can form one of the complex environments in Woods’ theory of ‘Freespace’.
TRANSVERSETERRITORY Graduate School of Architecture | University of Johannesburg
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BUSINESS PLAN ANNEXURE [ C ] OPEN BOX studio is a collaborative practice working within the broader range of design. OPEN BOX studios focus on making buildings, places, objects and strategies. Our collaborative design process includes a verity of design scales including commercial, residential, interior, product design, communication design and design strategy conceptualisation. Collaboration is at the heart of our working method - first with clients, then in assembling relevant design teams to fulfil a clientâ&#x20AC;&#x2122;s brief. At a time when architecture and design are rapidly changing - from procurement, economics and manufacturing - collaborative working responds fast and flexibly to contemporary opportunities.
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