Portfolio by
Ana-Catrinel Visan
Welcome to 2121
“
We come here to challenge the preconceptions we don’t realize we have. We all have biases but here we are free to manifest them and reflect upon our actions. You don’t know our world, but we know yours: we sometimes transport in time and experience your gender stereotypes and systematic biases. Here, in 2121, we don’t even have a gender, so all these preconceptions are gone!
“
Glossary Technology The usage of scientific advances to modify the human body through a series of procedures
Bias Prejudice against a group of people based on their corporeal appearance
Cyborg People that do not display gender. Genderless human beings
Circle A shape created from one line symbolizing perfection and unity. Its three dimensional form, the sphere, maintains the same meanings
Systematic grid
Males in the built environment
Females in the built environment
Concept diagram of systematic bias in the built environment
Building and user interactivity
The project brief Is technology biased? The project brief requests a response to how technology impacts humans and how it shapes the thoughts and behaviours of the general population. The ways in which digital media and other technological advances have changed the human relationships and the built environment have been explored through an in-depth analysis of the prejudices embedded into recent scientific advances. In response to the brief, the project follows to reveal the impact of technology at both physical and cognitive levels and showcase the promotion of biases through digital media. The proposal will, therefore, challenge this inherent value of technology by applying it to overcome bigotry. The proposal will follow my design principles of creating an unprejudiced and democratic environment in which no biases are present. The ways in which the lack of bigotry manifests in interior design will be further explored in this portfolio.
Diagram of bias promotion through digital media
The question Is the built environment gendered? Digital media and technology are being used in many fields of work and have a high influence on the socio-economic and cultural environment at a global scale. As all scientific advances have been created by humans, they manifest biases in various ways, mostly visible through recent uses of Artificial Intelligence (Silberg, 2019). This project questions the gender biases present in technology and follows to analyze the spatial disparities of gender in order to propose an equalitarian space.
What are the
spaces
Dynamic Flexible Public Responsive
a
a
Technology
non-gendered
society
Democratic Modified Neutral Unbiased
Cooperative Equal Multicultural Respectful
Diagram of the project’s question
would inhabit?
Contents Research phase Feminism and unconscious biases The cyborg Timeline Manifesto Site research Architectural inclusivity Colour
12 - 17 18 - 21 22 - 23 24 - 25 26 - 41 42 - 45 46 - 47
Performance space Performance Liminal pathways Performance sphere Proposal Materiality Accessibility
50 - 55 56 - 59 60 - 63 64 - 67 68 - 73 74 - 75
Sensory experience Emotions Sensorial journey Proposal Materiality
78 - 81 82 - 85 86 - 89 90 - 93
Cogitation space The concept The archive Proposal Materiality Circulation
96 - 107 108 - 111 112 - 115 116 - 119 120 - 121
The Immaterial Institute Manifesto Programme and aims User navigation and rhythms Elevations, plans and section Killer image
124 125 - 129 130 - 133 134 - 143 144 - 145
Appendix Collective manifesto References
146 - 147 148 - 149
Please note: The first section of the portfolio is a research documentation. The information is presented in both visual and textual format and is based on data analysis. The research resources are documented on pages 148 - 149.
Feminism Fourth-wave movement The incipit of the project analyzed technology as digital media and the wider context of the historical, cultural and socio-economical impact of feminism. This range of socio-political movements and ideologies promote the equality of sexes on personal and societal grounds, aspiring to attain a way of living based on human values rather than gender differentials. Therefore, the research examines the inequalities of gender in architecture and the digital space.
Research regarding female inequality in digital and architectural industries
2012 - 2017 UK Architects
-10.3%
Having created a questionnaire about the public apprehension of feminism (Visan, 2020), it was revealed that the public perceives it as a great ideology which is badly put in practice, most men participating in the research stating that feminists want to suppress men, which is in contradiction with the values stated by manifestos in the fourth wave of feminism.
2014 Google
17%
20 Global P
49.5
8%
CON
2019 Architecture School Applicants
66% BAD USE
100%
GREAT IDEOLOGY
34%
GOOD USE
50%
DON’T SUPRESS MEN
44%
50%
BE EQUAL
2015 Women on the Internet accessing SNS
92% PRO
80%
12 Research questionnaire results
Diagram of gender biases and
Questionnaire about public apprehension of feminism
Questionnaire SNS helped understand feminism
100%
Questionnaire Did not research “feminism”
58%
019 Population
584%
Questionnaire Supportive of the movement
92%
Questionnaire Stated it should not suppress men
50% 13 public apprehension of feminism
Digital media Gender norms Subsequent to a further analysis of digital media and the promotion of biases through a variety of mediums revealing stereotypical audio-visual content with regards to gender roles, their influence has been investigated on both societal and individual scales.
1866
No access to higher education
1880
First four women graduate
1878
University of London - first in the UK to accept women on equal terms as men
1993
Gender equality in enrolment is reached
201
Labour force participation in th men and women of prime w
100%
90%
80%
70%
60%
50%
Women Men Both Sexes
14
AUS AUT BEL CAN DKN FIN FRA DEU GRC ISL IRL ISR ITA
2019
2012
Women apprentices are 3% in Engineering and 93% in Childern’s Care
How often do males and females appear on Facebook posts published by proeminent Amercan news outlets?
Women are especially unlikely to appear in news images related to the economy and more likely to appear in images related to TV, music or movies
2016
Male graduates continue to earn more than female graduates
Exclusively women
70% 60%
2009
Both men and women
50%
Women aged 17-20 outnumber and outperform men at the same age in higher education
Women Men
40% 30% Exclusively men
20% 10% 0% Economy
Immigration
Sports
Entertainment
15
he most developed regions for working age (25 - 54 years)
2020
A JPN LUX MLT NLD NZL NOR PRT ESP SWE GHE BRG USA
How are genders portrayed in TV commercials?
60 ads 50 ads 40 ads 30 ads 20 ads 10 ads 0 ads Working Domestic work Receiving Providing Rescurer role Person in (eg: Cleaning) knowledge knowledge distress
15 Diagram of gender inequality in digital media
The unconscious bias Underlying stereotypes Numerous studies reveal that most unconscious biases occur at an unconscious level, without realisation (Pressner, 2016). Throughout the brain development phase, humans examine behaviours manifested around them and later replicate them as part of the necessity of being part of a society. This behaviours allows for the perpetuation and continuous manifestation of unconscious favoritism of certain groups of people. Moreover, through the stereotypical portrayal of genders on digital media platforms, biases are being expressed by some users (either consciously or unconsciously) and assimilated at a subconscious level by others. This ever-lasting cycle lays the foundations of inequalities such as gender pay gap (International Labour Organization, 2013) or preferential skill assessment (Wennerås, 1997). Thus, can technology be used to fracture this pattern?
16
17 Diagram of acquisition and manifestation of uncosncious gender biases through digital media
Pixelating Removing the bias Based on research regarding feminism and unconscious gender bias, a mobile device has been created to uncover ways in which technology could alter the existing patterns of creating stereotypes. The wearable object investigates how to erase bigotry by concealing the parts of the body which reveal a person’s gender. This exploration of covering the chest and groin area of the user has been merged with the pixel shape, a symbol of digital media and the perpetuation of judgements undertaken through this means. The smallest addressable form of the digital world has been multiplied to engulf the gendered parts and to convey that gender is a social construct which acts as a means of undermining a group of people whilst supporting the prosperity of others. The mobile device has been manufactured from cardboard, a material which could also recreate the human skin tone. The pixelation of the human body in its physical form lays at the core of the project as it enables further social and spatial constructs. Presence of unconscious gender bias
18 Gender concealment
Removal of unconscious gender bias
19 The mobile device in context
The cyborg Is it ethical to remove gender? “Cyborg” is defined by Cambridge Dictionary as an entity appearing as “part human and part machine”. In the context of this project, the cyborg is a person who has undertaken a technological bodily procedure of removing the gender. Therefore, following up on the research and the exploration through the mobile device, it is inferred that the solution to solving societal gender disparities is creating a nongendered community. Using technology to physically alter people by removing their genitalia betimes would provide the grounds of equality feminists have been striving for. As no physical indicators would reveal the sex assigned at birth, the disparities and biases present today would be eradicated. Social interactions would be reevaluated and so the built environment would be redesigned. Gender dysphoria procedures lay the base for the ethicality of the procedure, although the research is inconclusive because “a multidisciplinary approach is necessary” (Bizic, 2018), and yet sustained by the Gender Recognition Act 2004 which reveals the acceptance of gender intersectionality. Further studies and personal conversations with feminist artists with regards to this procedure can be found in the references section of the portfolio.
20 The creation of the cyborg
Cyborg front view
Cyborg top view
Cyborg 3D view
21 Different positions of the cyborg
Timeline
1850s
Technology
1950s
The Great Exhibition
Sputnik 1
1970s
Feminism
King’s Cross
22
Women’s Liberation Movement
1850s King’s Cross station opening
1980s
Equity femin
1980s
Holy Cross C
nism
Church Occupation
2120s
2020s
The era of the proposal
5G internet
2020s Cyberfeminism
2020s
Knowledge Quarter
23
Manifesto Enjoyment Spaces must make the users happy. Joyness stems from spatial democracy and equal accessibility and visibility within the built environment for anyone, irrespective of their social status.
Heritage Buildings are relics of the past and they should be preserved and reappropriated in accordance with scientific developments. Users must understand the past to continously progress.
Identity Any space ought to allow for individual and communal identities and preconceptions to emerge.
Interactivity Inter-human interaction as well as user interaction with the built environment are necessary to design and maintain a balanced space.
24
Multiculturalism The built environment should sustain the beauty of cultures and assist in their unification.
Performance People must be able to perform in the spaces they inhabit. The programme has to enable the freedom of movement and speech whilst sustaining a wide range of activities.
Removal Obliteration of sexism through gender removal. Architecture must provide spaces of inclusion which promote the obliteration of any other bias.
Sense The built environment has to cater for all human senses to confer the best experience to its user.
25
The Site King’s Cross Kings Cross is a hybrid area in London which has hosted significant events with regards to gender inequality. Presently, the tract holds the headquarters of some of the biggest digital companies in the world, gender underrepresentation and wage disparities being highly encountered. As the future speculations are based not only on the present social climate, but also on the timeline of major events in recent history, the proposal is highly influenced by the site in its programme and aim.
26
27 Building types in King’s Cross
Current user The female Throughout the research phase, user profiles on site were examined and so the manifestation of gender bias was revealed in the architectural usage. The physical manifestations will further be taken into the design process in order to challenge the patterns and create other possibilities for the proposed society. The circulation of females on site has been mapped in accordance to the rates of occupation by this user of different buildings on site. The number of females conducting an activity in the designated buildings on site as well as their overall percentages have determined the mappings below.
28 Female user presence in buildings on site
29 Female user public space circulation
The past Physical riots The history of the site reveals many feminist acts and riots with regards to gender injustice. Females have voiced the necessity of equality both physically in events such as the Holy Cross Church Occupation by the English Collective of Prostitutes in 1982 as well as through the use of digital media in the form of The Guilty Feminist podcast since 2015. Hence, the built environment on site is a containment of feminist acts in their physical form.
30
31 Female user history in King’s Cross
The present Online activism The presence of digital companies in King’s Cross is an actual manifestation of gender disparities. Females are in minority in these companies, especially in higher management roles. The headquarters present on site reveal the cycle of unconscious biases, from the creator which is most likely to be a male to the consumer which spans across all genders.
32
Employee gender disparity within
n digital media companies on site
33
Your future
“
34
The world has undergone many changes due to scientific advances, Structures you thought were impossible to achieve are now being built everywhere. Because this construction is a testimony of the architectural segregation of your era, the institute has decided to locate itself here. The world around it has changed, but this building remains a remembrance of your biases in their physical and metaphysical form.
“
35 Illustration of King’s Cross in the 2120s
Fish and Coal Offices Granary Square Fish and Coal Offices is a range of five units built on curved plan, following the shape of Regent’s Canal. The construction was built in phases between 1850s and 1860s and was part of Lewis Cubitt’s design for the Goods Yard complex with the role of monitoring and administrating the incoming coal and fish. The sub-Classical style construction presents multicolored exposed stone brick and openings spanned by segmental brick arches. The interiors are industrial style with exposed brick walls and polished concrete flooring. The construction has been refurbished and throughout its more than 150 years of existence little alterations have been made, hence the decision to keep its structure intact and insert the proposal within the built frame.
36 Building view from Granary Square
Building view from the canal
Circulation route
Granary Square demarcation
View accessibility Natural elements
Materiality relationship
37 Diagram representing Fish and Coal Offices building relationship to Granary Square
Sun Study
N
The context As the wider man-made context of the selected building has been inspected, a further examination of the natural elements in the surroundings was needed to compose the proposal.
W
S
12pm
6pm 38
N
E
S
6am
12am 39
Visibility 360° view The building was selected due to its high visibility on site, both from the Granary Square and from across the canal. This openness enforces the freedom of expression of biases without repercussion and stems from the feminist research showing that women are being suppressed by enclosed architecture which limits their field of view and so their accessibility to information (Spain, 1992, p.3). Moreover, it has been observed that the areas where most females reside have a much narrower field of view than the area occupied by mostly male inhabitants. The second and third unit from East to West have been selected to host the activities of the proposal due to their proximity to the bridge and the Granary Square, reenacting the lack of concealment in the relationship between indoors and outdoors and the necessity to change “the history of powers”(Foucault, 1980).
40 Visibility accessibility from the inside to the outside of the buildings on site
41 Illustrations revealing view accessibility in male dominated areas and view impairment in female dominated areas on site
Gendered architecture Spatial segregation As a means to understanding what non-gendered spaces would be comprised of, a study of gendered architecture was necessary to understand the variance between the straight-edged forms of the male architecture and the fluid curvature present in female designs (Torre, 2015).
Nazi Party Rally Grounds by Albert Speer (1938)
42
Zeppelinhaupttribüne by Albert Speer (1933) Materials specific to male architecture
Shape distinction between m
male and female architecture
Niterói Contemporary Art Museum by Oscar Niemeyer (1996)
43
Metropol Parasol by Jürgen Mayer (2011) Materials specific to female architecture
Queer space Architectural inclusivity Genderfluid architecture is yet a novel subject, no guidelines or designs revealing its qualities. The literature specifies that it is ”a performative strategy to challenge the behaviours […] framed by the built environment”(Pavka,2020), the academia suggesting that an ephemeral materialization of queerness(Stella,2015) might be the optimum approach as definitions of gender are morphing in accordance with social norms. Therefore, the strategy is focused on coalescing the structures and materials of binary architecture with the impermanent composition of queer spaces.
44 Canadian Museum for Human Rights by Antoine Predock (2008)
The Stonewall Inn by Genovese crime family (1967)
Resolute Rave by Wolfgang Tillmans (2020)
Light qualities
Deconstruction of architectural norms
Circulation
Systematic grid
45 Diagram representing elements specific to queer architecture
Colour Emotion through light Colour is a significant factor in our understanding of the world and the perceptions we have. Colours are interpreted differently by distinct cultures and this project will make use of five main colours which should be interpreted as described below. Colour in the context of the proposal is used to mark the emotion of a person or a group of people to an viewer, being a visual cue for the understanding of the proposal. Colour is used through the light qualities of the space. The coloured cyborgs are a symbol of their internalized emotion.
Red Red is a colour widely used to reveal anger and hate. Its dominant wavelength sits at the end of the visual spectrum and determines spaces to feel blinding and shapes and textures become hardly recognizable. In the context of the project the colour reveals the feeling of the user which manifests in space through light. (W)ego by MVRDV (2017)
Green
46
Green sits at the middle of the visible spectrum and it is the most calm and soothing colour to the human eye. Due to chlorophyll, green symbolizes nature and regeneration, being a colour of hope and youth. Contrarily, green can be used to describe disgust and sickness. Both its meanings will be used in the context of the project.
Art gallery in San Lorenzo, Rome by Antonino Cardillo (2017)
Blue In Greek mythology blue is associated with rain and so it represents sadness. The association of the Ancient Gods crying perpetuated to today and it will mark in the context of the cyborg society an emotion of sorrow.
La Muralla Roja by Ricardo Bofill (1973)
Violet Violet is obtained by mixing red and blue, the latter being dominant. Violet is a colour of deep emotion and, due to its origins, it emblematizes fear. The anxiety of the user will be marked by this colour in the context of the project, both in collective and individual plots. Rain Room by LACMA (2016)
Orange The colour is widely associated with amusement and enjoyment both in Western cultures and Asian religions such as Buddhism. Its symbolism is the opposite of its complementary colour, blue. The proposal will use orange to reveal happiness to outsiders and induce a feeling of calmness to cyborgs partaking in the activities of the programme.
Brickell Stage by the ArcihtectureSchool at The University of Miami (2018)
47
Performance space
“
We come here to interact with one another. The things we do are limitless and that’s what makes us progress as a society. We gather in these zero gravity spaces and we explore through bodily abilities and the freedom of speech any subject available to humans. We enjoy being here and we do not even realize that what we do helps us achieve the common goal.
“
Performance Energy Whereas performance is “a way of engaging directly with social reality […] and the politics of identity”(Tate, no date), it constitutes the best way of expressing emotions and beliefs whilst receiving instantaneous responses from others. Performance art enables any person, irrespective of their artistic expertise, to take part in the action. This relationship between the executant and the public is closely intertwined and evolves through time, hence allowing anyone to reveal their unconscious thoughts without the judgement of others. These qualities of performance art constitute the reason for introducing this activity into the proposal as a main tool to challenge bigotry. Rhythm 0 by Marina Abramovic (1974)
Energy emanated through human interaction
50 The energy of performance art
Testing the body placement within the interaction
51 Cyborg positioning in the performance act
Person climbing indoors
Burolandschaft by Quickborner (1978)
Human interaction with the build environment
User interaction within the plan
The energy of the relationship between the body and the space
The energy of the relationship between the user and the space
52
53 Granary Square circulation
Circulation Human interaction Reenacting the necessity of placing the interior proposal into a wider context, the user circulation mapped previously was used for the area of Granary Square. The circulation was subsequently drawn and redrawn on tracing paper, various patterns emerging from the continuous layering of the paths. The shapes were then overlaid on the section and the plan of the building area dedicated to the performance space. Therefore, the relationship between the inside and the outside became organic and the process became and exploration of depths and height, resonating with the activity itself.
54 Analogue overlay of circulation on section
Analogue overlay of circulation on plan
55 Analogue test layering of obtained plans and sections
Liminal pathways Flow Ensuing from the analogue exploration of circulation, the layering was brought into the liminal spaces in the form of pathways. In order to sustain the ever-changing activity in the space, the pathways became structural and sculptural elements. Analogue experimentation was morphed into 3D visualisations of the area in order to respect the necessary building requirements and reach the final design.
56 Concept drawing of the relationship between the circulation pattern and the space
Concept drawing of circulation patterns as pathways
57 Concept model of the pathways as sculptural elements
Initial identification of plan and section of the pathways - drawn at scale 1:100 @ A4
58 3D test iterations of the pathways
59 3D overview of the proposed liminal pathways
Interactivity User relation through architecture The most important encounter of the user with the built environment in this section of the building is the performance act itself. The ways in which a spatial representation of human energy and interaction could be articulated spatially was explored through concept models. The final concept for the performance space is the creation of a performance sphere once any artistic act commences in the space, as anyone is able to participate or start a performance because the goal of the programme is sharing cultural traits and challenging unconscious biases. The sphere would be created through human interaction and has the ability of increasing and decreasing in size according to the number of people wanting to participate in one given performance. The space can hold an infinite number of performances at any one time, subjected to spatial constraints. The bubble created around the participants of any one given performance would be zero gravity and would allow the public to view from any given point in space. If the performance has a large number of users and only few people are active in the artistic act itself, a core of the bubble is created in order to ensure the best outcomes and outreach is maintained, The dynamism of the sphere’s size is also emphasized by the changing shape which alters though time, having openings for people and areas covered by material to regulate the gravity as well as light and sound qualities of the performance space. Once the act is over, the core starts disintegrating, the bigger sphere following. People are able to exit safely and access the pathways, the bubble only completely disappearing once everyone has reached the liminal areas safely.
60 Concept drawing of the relationship between the pathways and the performance
Concept drawing of performance spaces
Concept model of spatial interaction - one performance
Concept model of spatial interaction - multiple performances
61 Concept model of spatial interaction and flexibility
Performance sphere evolution Sequence illustration of the creation and disintegration of the sphere
62
Click for video
63
Timescale One day The capturing of different times for revealing the energy and dynamism of the constantly changing space is essential. Moreover, further studies into creative acts has shown that most people reach their creative peak at around 6pm, therefore the space would not only change in short term, but also on a 24-hours cycle which reconnects the interiors with the context of the site.
12pm
Evolution of the sp
64
6pm
6am
pace through 24hrs
65
12am
Interior view 12pm
66
0
1
2
3
4
5
10
N
Interior View 6pm
Interior view 6am
67 Interior view 12am
The views Transparency As visibility has been of high importance in selecting the building and the placement of the activity, the easiness of accessing the knowledge was necessary to be maintained in the proposal. The three storey high area permits constant visibility due to the reduced opacity of the liminal pathways and of the material used for the performance spheres. The only constraints to human vision are the walls and the other users in the space.
68 Visibility in the empty space
69 Visibility during performance acts
Corporeity Future prospects Placing the proposed project in a 100 years’ time allows for new materials to be imagined and developed due to forthcoming technological and digital headway. The material of the performance sphere is created out of human interaction energy and has a clear yet colourful texture, its final state being flexible with illuminating edges in order to ensure the proper lighting qualities of both the performance and the whole interior space. The proposed substance has the ability of not only appearing but also disintegrating at the end of the performance and leaving no residue behind, The matter is able to generate zero gravity for the area of the performance and ceases to produce this quality when it ends. Due to the abstract aspect of the proposed material, two case studies were analyzed to illustrate the possibility of achieving such substance. The most significant material is the Cellulose Medium by Raewyn Martyn (2017) which is a type of paint revealing the ability of moving between liquid and solid form. The mixture of natural materials is poured into a circular shape. When dry there are translucent and opaque areas and the material filters light in subtle ways. Depending on humidity and weather conditions, the cellulose umbrella changes over time, if it rains heavily, it is possible that it disappears within hours of installation.
Raw material
Cellulose medium
by Raewyn Martyn (2017)
Gelatin capsules
The proposed material
70
Texture
Final state of the substance
Disintegration
71 Diagram of material journey
Materials Insertion The core materials in this section are maintained as the programme is inserted into the existing structure. The materiality of this area reveals the fusion of the male matter such as brick and concrete with the female pellucidity of materials in combination with the sinuous curves of the pathways and the perfect performance spheres.
72
Gray slate
White satin glass
The proposed material
Multicoloured stock brick
Black aluminium
Concrete
73
Pixel journey Transportation The momentum conferred by the performance and the liminal spaces is perpetuated by the building’s accessibility which is necessary to consider given that the pathways do not emerge from already existing openings. Thereupon, the proposal consists of an area with eight “pixels” placed in front of the building which would operate as a launch platform for the cuboid solids acting as flying cars which would transport every individual to the entrance point they would select.
Arriving to Granary Square and accessing the platform
Travelling the “pixe
The cyborg
1
3 2 Arriving back to Granary Square
74
User exiting the space a the “pixel” coming to pick
1 4 5
3 2
Selecting the entrance
with el”
and k up
1
4
5
2
The “pixel” transports the person to the assigned entrance
5
Performance art experience 75
Sensory experience
“
Senses and emotions are what makes us humans. You might not consider us to be human beings, but we have returned to the rudimentary understanding of the world. You have forgotten for a while that emotions are the fundamental motives that drive our lives but we have come back to the trivial necessity of our own existence.
“
Disgust Sadness Enjoyment Anger Fear
The sensory experience Creating awareness by using the five sense An instigation of the senses and emotions for awakening the “self” and for boosting the awareness which would be used in the other activities of the proposal is necessary for challenging the biases. Therefore, the senses have been identified to be the perfect means to achieve the wanted outcome, as any human being in any condition relies on the senses in their understanding and interpretation of the world.
The Atlas of Emotions It has been studied that all humans, in any condition and irrespective of their culture or appearance present a set of five emotions which are characteristic across the globe and span throughout human history. The “Atlas of Emotions” (2016) by Paul Ekman reveals that “there were five broad categories of emotions — anger, fear, disgust, sadness and enjoyment — and that each had an elaborate subset of emotional states, triggers, actions and moods” (Paul Ekman Group, 2016).
Employing Darwinian emotions Darwinian emotions have been revealed through this study as the mentioned emotional states have been developed through the Darwinian evolution of humans. As the project aims to challenge the unconscious biases, reaching the trivial senses and emotions is of high importance as these are the human mechanisms of understanding the world.
80
Circulation space
Console area
Seating area
Console area
Staircase to upper floor Console area
The cyborg body
0
1
2
3
4
5
10
N
Diagram showing the overlay of the cyborg body onto the plan for unconscious body exploration
81
The journey Engaging the trivial The journey through the space engages all five senses for increased awareness. The contrariety of light, sound and touch found through the space aims to keep the user focused on the present at all times.
Hearing - Different sound pitches made by walking on the interactive floor
Smell and Taste - Experiencing the beverage of choice Touch - Glass surface and feeling the temperature of the beverage
82
Sight - Projections onto the surface
Touch - Data collection at the entrance Sight - Darkness and mirrored surface
0
1
2
3
4
10
5
N
Disgust Sadness Enjoyment
Accessing the upper floor Anger
Fear
Experiencing the five emotions through tailored projections according to the provided data
83
The beverage Visual stimulation and gustatory comfort Once the user accesses the chosen console, overhead panels placed on the ceiling are activated and would deliver a beverage which would slowly be composed on the table. The beverage is served according to individual’s needs, as acquired from the data given at the entrance. Once the individual starts drinking the beverage of choice, personalized images projected onto the liquid will induce the five Darwinian emotions. Each emotion will be instigated at different stages of the glass emptiness so that by the time the user finished the beverage they would be connected with the trivial nature of the “self”.
Bright lig user acc
The console in gloom when not in use
0
84
1
2
3
4
5
10
N
Glass
Different light projections to induce emotions whilst the user drinks
Beverage creation
ght projection when cesses the console Enjoyment
Fear
Sadness
Disgust
Anger
Bright light projection after the user has experienced the five emotions
s dissolution 85
Spatial elements
0
1
0
0
2
Common sitting area
1
2
Scale 1:50 @ A4
Section A
0
86
1
2
3
4
5
10
Scale 1:75 @ A4
Console area
1
0
1
0
2
1
2
Scale 1:50 @ A4
Staircase leading to first floor
0
2
1
2
Scale 1:40 @ A4
Section B
B A A
B 0
1
2
3
4
5
10
0
1
2
3
4
5
10
N
Scale 1:75 @ A4
87
Materiality Digital projection The materiality of the space is of high importance for enhancing the use of the five senses, hence the interactive LED floor panels which respond to people’s movement is a precedent for the material used for the sofa which is the Digitized Material by Lindsay Ann Hanson (2019), a new type of material that has the ability to change its colour and pattern through the user command whilst being a similar fabric to cotton. By using photonic crystals and graphene, the colours and patterns of the fabric would be limitless through a small flexible power grid which transfers the information from a smart device to the material. This fabric would be used for the couch area in order to allow the person to create a space of comfort not to create uneasiness after the sensory experience.
Raw material
LED lights
Digitized material
by Lindsay Ann Hanson (2019)
90
Substance
Digital matter
Illumination
91 Diagram of material functionality
Characteristics Light quality The space is dark and monochrome, with light absorbing surfaces excluding the mirrored partition wall. The materials are neutral and allow for the projections to change the atmosphere and quality of the space throughout time. The overhead panels, the interactive LED floor, the digitized material and the floor lights of the consoles interact with one another and create distinct environments when in use.
92
Concrete
White fiberglass
Black painted concrete
Digitized material
Grey fiberglass
Black painted concrete
Interactive LED floor panels
Stainless steel mirror
Concrete 93
Cogitation space
“
Your dream of time travelling has finally come true! Here we come alone and we can choose between meditating or accessing the archive. When we want to learn of the past we transport ourselves to your world and we see the impact unconscious gender biases have on any aspect of your life. This just makes us realize we might be biased in other ways ... and that is why we are here.
“
Meditation
Cogit
Consciousness
Self-awareness
Thoughts
Bias 96
tation
Archive
Knowledge
History
Identity
ses 97
Fetus
Nature
Relati Body - Mi The present
98
The Matrix
Digital world
ionship ind - Space The past
99
Absent Matter “the representation of a mental projection, a filter and form through which to recount the mutual interfusion of the cultural landscape and the physical environment, both natural and built”
Cogitation Meditating Meditation creates awareness in the state of the body and the mind, allowing emotions and thoughts to surface from the unconscious, the act being internalized, in contrariety with the performative pursuits. Increased kindness and compassion have been manifested by individuals who meditate(Lim,2015), these effects having great impact on personal and societal level, and so, the proposal will sustain the ideal conditions for autogenic training.
Experiencing the archive In a society where people do not have the concept of gender bias, it is necessary to introduce the notion to individuals and give the opportunity of experiencing it in order to start the in-depth analysis of one self’s condition, in addition to the reconfiguration of societal values and structures, aiming to eliminate other unconscious stereotypes. Understanding the past is essential for ensuring the continuous enhancement of humanity.
Transporting into the past to experience gender biases The journey begins once the user accesses one of the touchpoints and lays in a fetal position which is an unbiased posture, being found across any cultures, genders or races.. The person will face the option of meditating and staying in the present or time travelling to four eras of the past which were marked by feminist riots and gender injustice. This process is highly influenced by Eduardo Tresoldi’s concept of the Absent Matter and Baruch Spinoza’s rationalist philosophy.
102
103 Concept development drawing - the journey
Concept development drawing - the touchpoint
Spinoza’s Philosophy
The Sub
Thought
Imediate Mediate
Motion and Rest
Material Universe
Individu Thi
bstance
Extension
Imediate
Infinite Intellect Infinite Immateriality
uality of ings
Mediate
The S
Material Universe
Substance
Infinite Immateriality
The Journey The Golden Ratio Because the individual aims to reach “the substance” in Spinoza’s philosophy, the connection between nature and the humans marks the design proposal. The person accessing the touchpoint would be veiled by a sphere which would provide the perfect environment conditions according to the data provided at the entrance. If the person selects to access the archive, the sphere would float and change shape according to the assigned era, being a visual cue to the outsiders. A conglomeration of meditation bubbles would gather in a golden shape ration in the air, uniting the individualistic experiences with the Fibonacci sequence which is widely found in nature in cases such as the arrangement of leaves on a stem. These divine proportions link the physicality of the proposal with the immateriality of the concept.
The process of creation
User lays in a fetal position
The process of disintegration 0
108
2
3 1
4
5
10
N
1970s
1980s
2010s 2020s Sphere leaves the touchpoint Sphere formation
The sphere morphs into four different bubbles in accordance to the era selected by the user
Once the user decides to return to the present, the bubble leaves the gathering, morphs back into a perfect sphere and lands onto the touchpoint
The morphed bubble joins a virtual conglomeration of the golden ration whilst floating 109
Archive Knowledge acquisition through personal experience By choosing to access the past, the user can select from four key moments which reveal gender inequalities: the 1970s with women’s liberation movement which took place on a global scale, the 1980s revealing the Holy Cross Church Occupation by the English Collective of Prostitutes and the influence of The Bell Pub in the King’s Cross area, the 2010s revealing the impact of digital media on the female expression through the Me Too movement and the 2020s which reveals today’s unconscious biases and the riots happening with Sarah Everard’s death. Once the selection is made, the sphere morphs into a bubble which symbolizes the crossing between the perfection of the 2120s and the bigotry of the past. This transformation is also an indication for any outside viewers to understand what the person taking the journey is experiencing.
Click on the for the 1970 2020s and the website
Please find more information about the 1970s and the 2020s by accessing the Virtual Reality spaces through clicking on the images of the assigned eras below.
1970s
1980s
110 VR Space depicting the 1970s Women’s Liberation Movement
Holy Cross Church Occupation in King’s Cross (1982)
e image 0s or the wait for e to load
Exit the space by closing the webpage
Q W E A S D Click “CONNECT” Note: Music will automatically play when entering
2010s
Navigate the space using your keyboard
Click on any picture and press the link button A new webpage containing additional information about that topic will appear
2020s
111 #Me Too march in Los Angeles (2018)
VR Space depicting the 2020s feminist riots
A. Interior view - Cogitation space entrance
D 0
1
2
2120s
1970s
1980s
2010s
2020s
112 C. Diagram showing the option to transport to four eras in the past from inside the cogitation sphere
3
4
5
10
N
B. Interior view - Perspective from inside the cogitation bubble
A C B
113 D. Exterior view - Exit from cogitation space and visualisation of transporting platforms situated on the roof
The matter Nature The connection with the trivial and the nature in this section of the proposal is also manifested through the materiality of the cogitation sphere. The Silk Leaf by Julian Melchiorri (2014) is a man-made leaf from silk protein that bio-mimics nature by using water and natural light to transform carbon dioxide into oxygen. This material is a precedent for the suggested matter as it would be a re-engineered version of this precedent. The material would have the same abilities as the Silk Leaf but it would also would have the ability to grow and alter its shape within a few minutes as well as dissipate without affecting its attributes.
Raw material
Wax candle
Silk leaf
by Julian Melchiorri (2014)
116
Initial state
Final product
Evolution through time
117 Diagram of material proposal
Attributes Connectivity The connectivity to nature and the “self” is suggested by inserting natural materials into the proposal. The corporeity as well as the atmosphere of the cogitation space is in opposition to the ground floor as this area reacts to natural elements such as water and sun to maintain the conatus. The glass ceiling provides the connectivity to the outdoors and reveals the dissonance to the sensory space which is isolated from the rest of the world.
118
Transparent glass
Black aluminium
Silk leaf
English oak wood
White polymethyl methacrylate (PMMA)
Black aluminium
White clay wall paint
White fiberglass
Concrete
Moss 119
Spatial circulation Linearity Accessing the second part of the proposal is being effectuated by giving the personal data at the entrance to the sensory space. After the journey through the senses taking place at the ground floor, the user accesses the first floor through a spiral staircase. The cogitation space is located at this level. Upon meditating or accessing the archive, the person exits on the roof of the fourth building block where a “pixel” area is located. Therefore, the user is transported back to the Granary Square, making the circulation of this building block linear.
Giving data using a touch panel
Please find a short animation of the spatial circulation through the perspective of the user by clicking on the image below. Entering the sensory space from Granary Square
0
1
2
3
4
5
Ground Floor -
The cyborg
Returning to the square by the means of the “pixel”
120 Click for video - The user journey
Accessing the upper floor using the staircase
Undergoing the sensory experience
10
N
- Sensory Space
0
1
2
3
4
5
10
N
First Floor - Cogitation Space
Experiencing the cogitation journey
Exiting on the roof and accessing the “pixel” area
121
We believe multiculturalism is of utmost value to humanity the built environment has to be directly responsive to the human activities spaces ought to be democratic and must promote social equalitarianism
We do promote creative expression in any of its forms encourage learning about the past to progress as a society aim to remove unconscious biases
Spatial connection between the areas
Cogitation space
Sensory experience Performance space
125 Zoning of the programme
Programme of the proposal
What are t
“
Here, at the Immaterial Institute, we encourage mindfulness in order to challenge and remove our unconscious biases. The cultural centre consists of three areas which are divided by their programme, each assisting us in perceiving and removing our preconceptions. We host both individual and group activities separated by the two building blocks we occupy. If people are not aware of our goal, they come here to share impressions and cultural values with other individuals, making our institute welcoming to anyone and so following our goal.
Being Present
Group
Performance Space
“
Unconscious
126
Thought
the spaces a non-gendered society would inhabit?
The Immaterial Institute
Sensory Experience
Emotion
Senses
Sharing Cultures
Cogitation Space
Archive
Meditate
Individual
Conscious
127 Programme proposal diagram
The goal of the Institute
“
In this gender unbiased world, our final goal is achieving a society free of prejudice, in which everyone focuses on the importance of multiculturalism and communal living.
128
“
Present
2120s
Biases at conscious and unconscious levels
Gender unbiased society
Example: - Sexism - Racism - Classism - Ageism
Removal of all other biases through
All other biases are still present
Example: Removal of racism
2xxx
h challenging the unconscious using the programme of the proposal
Example: Removal of classism
Example: Removal of ageism
Bias-free society Ultimate goal of the programme achieved
129
User spatial navigation and rhythms
6am
6:30am
Arrives at the Begins the Immaterial sensory Institute experience
7:30am
8am
Completes Accesses the sensory the upper journey and floor and reflects transports sitting on to the the couch archive
12am
Finalizes the cogitation experience and returns to the square
Comes to experience the Immaterial Institute Interested in challenging the unconscious biases Eager to share personal cultural background and learn about others
130
1:30pm
4pm
7pm
Approaches the Observes Participates performance in second first space performance performance
7:30pm
Leaves the Immaterial Institute
131
User journey
6pm
6:30pm
Notices the Immaterial Institute in the Granary Square
Joins a performance as a spectator
8pm
Leaves the performance space posterior to the ending of the performance
Passes by in the area and decides to participate No previous knowledge of unconscious bias Skeptical in freely sharing emotions and thoughts with others
132
8:30pm
Commences the meditation without having induced awareness through the sensory experience
9pm
Completes the meditation
9:30pm
Leaves the Immaterial Institute
133
Facade changes
“
We want this building to be a reminder of the past as we believe we have to learn from our history to continue advancing as a society. We have moderately modified the facade of the construction to host our activities. We removed the windows for the sensory space, inserted a glass roof for the cogitation space and created a flat roof for the fourth section of the building. For the performance space, we removed the windows from the canal and introduced the accessing points.
134
“
0
0
2
1
1
2
3
4
5
10
3
4
5
10
135 Scale 1:500 @ A5
Performance space
0
0
1
2
3
4
5
10
Scale 1:100 @ A3 N
1
2
3
4
5
10
N
Sensory experience
0 Scale 1:100 @ A3
1
2
3
4
5
10
0
N
Cogitation space
0 Scale 1:100 @ A3 0
1
2
3
4
5
10
N
1
2
3
4
5
10
N
Section
0
1
2
3
4
5
10
Scale 1:250 @ A3
12pm
142
6pm
A A
0
12am
1
2
3
4
5
10
N
6am
143
The return to 2021 A collective manifesto The Immaterial Institute is a cultural center placed in a 100 years’ time in the sociocultural context of a genderless community. The programme aims to challenge unconscious biases and promote the beauty of multiculturalism and communal living. The proposal is highly influenced by scientific advances and projects the possibility of technological use, suggesting a scenario which is currently unachievable. Relying on research findings that performance art and meditation can positively impact individuals and the society as a whole, including personal experiences through understanding the world using the senses, the project is tackling physicality as well as affectivity to reach the final goal of complete bias removal. The space is designed to adapt and evolve to the ever-changing needs of humans, the development of the space being organic within a fixed structure and following the queer architectural proposals whilst binding the aesthetics of binary spaces. The whole design pursues to create an unbiased world, just like the gender removal process aims to remove the sex preconceptions. This is my future scenario, but what do other people think of the future? As part of the project, a website entitled “100 years” was created as a collective manifesto of the future. The website aims to collate the beliefs of a wider community, and like the proposed scenario, allows for the freedom of expression and it enables anyone to participate. Please click on the image on page 147 to read a community’s story.
146
147
References Additional information Page 8 Silberg, J. (2018) Tackling bias in artificial intelligence (and in humans), Available at: https://www.mckinsey.com/featuredinsights/artificial-intelligence/tackling-bias-in-artificial-intelligence-and-in-humans# Page 12 Visan, A. (Nov 2020) Feminism Questionnaire, Available at: https://docs.google.com/document/d/18rnQo-1pXHZW5ARRf58ZvuTd cohzUxKFU2Lrw7ags7c/edit#heading=h.94a525wyie8y UK Government (2017) DCMS Sectors Economic Estimates 2017: Employment, Available at: https://www.gov.uk/government/ statistics/dcms-sectors-economic-estimates-2017-employment The Washington Post (2014), Most Google Employees Are White Men: Wher Are All The Women?, Available at: https://www. washingtonpost.com/news/morning-mix/wp/2014/05/29/most-google-employees-are-white-men-where-are-allthewomen/ Pitcher, G. (2019) Record number of women apply for architecture-related degrees, Available at: https://www.architectsjournal. co.uk/news/record-number-of-women-apply-for-architecture-related-degrees Anderson, M. (2015), Men catch up with women on overall social media use, Available at: https://www.pewresearch.org/facttank/2015/08/28/men-catch-up-with-women-on-overall-social-media-use/ Page 14 Aware (2020) What do advertisements tell us about the state of gender relations in Singapore?, Available at: https://www.aware. org.sg/2020/08/rice-advertisements-state-of-gender-relations-singapore/ Fawcett Society (2016) Equality, It’s about time, Available at: https://www.fawcettsociety.org.uk/Handlers/Download. ashx?IDMF=45a5a7f5-ffbd-4078-b0b7-4bfcccab159d Lam, O. (2019) Men Appear Twice as Often as Women in News Photos on Facebook, Available at: https://www.journalism. org/2019/05/23/men-appear-twice-as-often-as-women-in-news-photos-on-facebook/ UN Women (2015) The change for public policy, Available at: https://progress.unwomen.org/en/2015/chapter1/ Page 16 Pressner, K. (2016) Are you biased?, TEDxBasel, Available at: https://www.youtube.com/watch?v=Bq_xYSOZrgU&t=401s&ab_ channel=TEDxTalks International Labour Organization (ILO) (2013) Global Employment Trends, Available at: https://www.ilo.org/wcmsp5/groups/ public/---dgreports/---dcomm/---publ/documents/publication/wcms_202326.pdf#page=37&zoom=100,0,0 Wennerås, C., and Wold, A. (May 1997) Nepotism and Sexism in Peer-Review, Available at: https://www.researchgate.net/ publication/286750719_Nepotism_and_Sexism_in_Peer-Review’ Page 20 Cambridge Dictionary, “Cyborg”, Available at: https://dictionary.cambridge.org/dictionary/english/cyborg Bizic, M. R., Jeftovic, M., Pusica, S., Stojanovic, B., Duisin, D., Vujovic, S., Rakic, V., and Miroslav, L. D. (2018) Gender Dysphoria: Bioethical Aspects of Medical Treatment, Article ID: 9652305, doi: 10.1155/2018/9652305, Available at: https://doi. org/10.1155/2018/9652305, https://www.hindawi.com/journals/bmri/2018/9652305/#conclusion Page 26 Camden Borough (December 2015) Camden Neighbourhood Profile - Kings Cross, Available at: https://opendata.camden.gov. uk/widgets/9egs-2yf7 Page 28 Camden Borough (December 2015) Camden Neighbourhood Profile - Kings Cross, Available at: https://opendata.camden.gov. uk/widgets/9egs-2yf7 Camden Borough (January 2016) Kings Cross Profile, Available at: https://opendata.camden.gov.uk/Community/CamdenNeighbourhood-Profile-Kings-Cross/9egs-2yf7 Argent (2021) Argent Retail Facts and Figures, Available at: https://www.kingscross.co.uk/media/Argent-Retail-Facts-Figures_Digital.pdf Page 32 Emarsys (2020) Emarsys Careers, Available at: https://careers.emarsys.com/ The Guardian (2021) Diversity, equity and inclusion, Avilable at: https://www.theguardian.com/about/2021/apr/30/diversityequity-and-inclusion Google (2020) Google Diversity Annual Report, Available at: https://kstatic.googleusercontent.com/ Google (2020) Diversity Inclusion, Available at: https://www.thinkwithgoogle.com/feature/diversity-inclusion/ Page 40 Foucault, M. (1980) Power/Knowledge, New York: Pantheon Books Spain, D. (1992) Gendered Spaces, The University of North Carolina Press: Chapel Hill and London, p.3 Page 42 Torre, S. (14 January 2015) Feminism and Architecture, The Architectural League, Available at: https://www.youtube.com/ watch?v=LNNLZgqlghs&ab_channel=TheArchitecturalLeague Page 44 Pavka, E. (29 June 2020) What Do We Mean By Queer Spaces?, Azure Magazine, Available at: https://www.azuremagazine.com/ article/what-do-we-mean-by-queer-space/ Stella, F. (2015) Lesbian Lives in Soviet and Post-Soviet Russia: Post/Socialism and Gendered Sexualities, Carving Out Queer Space: In-visibility, Belonging and Resistance, Palgrave Macmillan UK, DOI: 10.1057/9781137321244
148
Page 46 (W)ego by MVRDV (2017): https://www.dezeen.com/2017/10/23/mvrdv-wego-house-reconfigure-dutch-design-week-2017-whyfactory/ Art gallery in San Lorenzo, Rome by Antonino Cardillo (2017): https://www.dezeen.com/2017/04/17/antonino-cardillo-greentextured-gallery-interior-wagner-opera-rome/ La Muralla Roja by Ricardo Bofill (1973): https://www.archdaily.com/332438/ad-classics-la-muralla-roja-ricardo-bofill?ad_ medium=gallery Rain Room by LACMA (2016): https://www.instagram.com/p/BEgyEkjrp1x/?utm_source=ig_embed Brickell Stage by the ArcihtectureSchool at The University of Miami (2018): https://www.dezeen.com/2018/01/18/universitymiami-architecture-students-install-bright-orange-brickell-stage-below-metrorail-transit-station/ Page 50 Rhythm 0 by Marina Abramovic (1974): https://www.dannywithlove.com/blog/about-marina-abramovics-rhythm-0 Tate (no date) Performance Art, Available at: https://www.tate.org.uk/art/art-terms/p/performance-art Page 52 Burolandschaft by Quickborner (1978): Spain, D., Gendered Spaces, The University on North Carolina Press, 1992 Page 70 Cellulose medium by Raewyn Martyn (2017): https://www.futurematerialsbank.com/material/cellulose-medium/ Page 80 Paul Ekman Group (2016) Atlas of Emotions in the New York Times, An interactive map of emotions, Available at: https://www. paulekman.com/blog/atlas-of-emotions/ Page 90 Digitized material by Lindsay Ann Hanson (2019): https://www.lindsayannhanson.com/mastersproject Page 102 Lim, D., Condon, P. and DeSteno. D. (2015) Mindfulness and Compassion: An Examination of Mechanism and Scalability, Available at: https://doi.org/10.1371/journal.pone.0118221 For additional information with regards to my research, please access my Research Report and Programme Proposal by following the links below: Research Report: https://drive.google.com/file/d/1NtZaBqNCf0opUBoYyOIhsuUL-p_HHr71/view?usp=sharing Programme Proposal: https://drive.google.com/file/d/1cEZ-AdoW3jqnKaMFXFwnSkj3Z2irhop5/view?usp=sharing
149