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IYAT U N D E MA J E KO D U N M I & G I N A N I K B I N


D I S T O R T I O N S B L O T T I N G

2230:

POSTHUMAN

Fall 2018-Spring 2019 Degree Project Faculty: Eva Perez de Vega, Farzam Yazdanseta, Saul Anton

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Pratt School of Architecture

Iyatunde Majekodunmi & Gina Nikbin


TA B L E

O F

CONTENTS INTRODUCTION: -Project Statement -Design Statement -Researh Essays - Site Studies -Project Drawings

04 06 08 14 21

RESEARCH: -Study Models -Process -Concept -Program - Project

of Concept Model Models Analysis Renders

26 32 33 36 38

DRAWINGS:

INDEX: -Lexicon -Annotated Bibliography -Notes

2230: BLOTTING DISTORTIONS

40 46 50

52 54 55 03/56

-Project Models -Drawing Annotations -Reading Annotations


FUTURE P R O J E C T

O

REFUGE S T A T E M E N T

ur project redevelops the edges of Manhattan and Brooklyn as they will exist in 2230. We envision a starkly transformed water line where the logic of the twentieth-century urban grid gives way to experiences of

chaos, distortion, unreason and climate change. For every innovation in productivity and communications, there is a side effect that causes miscommunication, wasted time and energy that leads to dystopic consequences. The greatest of these is climate change. The goal is to create a multi-program renovation that exists above, on and below the distorted water line which has invaded the once occupied lands, mutating the edges of the city. Our project will reconnect the East River park on the edge of the isle of Manhattan and the East River park on the edges

2230

of Williamsburg in order to connect the newly developed islands.

A

reas of activity, residence and exchange are now either abandoned or completely submerged in the water. Our design attempts to reclaim and provide the survivors of New York City what was lost to them over time.

Our design encompasses the spaces which were lost years ago due to the flood. In the beginning, the project grew slowly over the years, simply creating a connection from the Manhattan East River Park edge to the Brooklyn East River Park edge, creating a programmed island. Here now in 2230 the growth of the project and design has taken up part of the city itself as what was once New York lies in ruins and drowned by the water. Our design is not only

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a response to the environmental disaster but serves as a memory of the past.

Iyatunde Majekodunmi & Gina Nikbin


By 2230, our design attempts to recreate, reabsorb what was lost within the city along the once prominent edges of Manhattan and Brooklyn according to a logic of distortion and hallucination. The architectural distortion makes one increasingly aware of the building’s overall framework and how its individual elements come together to reinforce it. By distorting familiar systems, we intend to challenges the notion that technology must be seamless, faultless, and disturbance-free. Once the structure is distorted, people can begin to question boundaries and develop new and unique voices or modes of expression

of the East River, resting upon landfills, aims to reimagine and transform the sectional logic of the city as it is transformed by rising sea levels and climate change.

2230: BLOTTING DISTORTIONS

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the viewer based on your location throughout the structure. An island bridge over and under the water bed

POSTHUMAN

The experience from one edge to the other should be a hallucinatory experience. You are both the subject and


QUESTIONING THE EDGE D E S I G N

S T A T E M E N T

The design is situated in 2230. New York city is now mostly flooded or under water. This inspired us to do a series of studies of injecting/suspending ink into gel and study the organic connections that are made vertime. Which will then form to reflect/recreate the areas of activity, residence and exchange which are now either abandoned or completely submerged in the water. Our design attempts to reclaim and provide the survivors of New York what was lost to them over time. Our design encompasses the spaces which were lost years ago due to the flood. At the beginning stages, the project grew slowly over the years, simply creating a connection from the Manhattan East River Park edge to the Brooklyn East River Park edge, creating a programmed island which served as a bridge. Here now in 2230 the growth of the project and design has taken up part of the city itself as what was once New York lies in ruins and drowned by the water. Our design is not only a response to the environmental disaster but serves as a memory of the past and what once was. By 2230, our design attempts to

2230

recreate, reabsorb what was lost within the city along the once prominent edges of Manhattan and Brooklyn. Our structure has absorbed the lost park within it. The once standardized sport facilities along city edge are now within the structure and distorted by topography and architecture obstructions.

For example, a standard 8-lane track resides within the structure just above a reservoir of water and under a shallow pool open to the sky of collected rainwater. Already there is a strange visual distortion due to the refracted element of water. The sky above is experienced through a filter of gathered rain water, creating an unusual and hallucinatory experience, distorting one's senses of orientation. The interior field of the track has rock structure and topography growing out from the ground and above. Physically the track is only 90% accessible and the interior field is 50% functional. These elements of water, stone and man-made topography causes a strange sensory effect on both the flaneur and the voyeur located in that space. A space which is a reminder of the track at the Manhattan East River Park that has now been distorted, an ode to the

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current environmental conditions.

Iyatunde Majekodunmi & Gina Nikbin


INTENTION Our design also incorporates a refuge for those who were displaced from their homes along the Manhattan and Brooklyn edge. This sanctuaries are habitable spaces which reside under and in between the water level but never above. Living has moved from above water and ground to existing under and within it. The refuge areas appear almost as carved out cavernous spaces from the overall design. In the design, our landscape is water, the sky can be water and normal conditions are distorted due to this use of water as a medium.

Our design address the river by working with 2230 flood condition and not against it. The design and structure accepts the

of the design incorporates shallow pools for rainwater collection and to create a distorted visual effect for those below in certain spaces. The overall design is not only created from concrete, steel and glass but incorporates more topographical organic elements such as landfill, sand, greenery and water. The city edges of Manhattan and Brooklyn have been redefined not only by the flooding but also landfill manipulation to serve as touchdown islands at either end of the overall design. The

POSTHUMAN

water by allowing it into the base of structure creating several reservoirs for energy and food production. The top surface

flow of water is disrupted by the design, but never blocks the water flow, allowing for natural and artificial passages along the river, as the design attempts to not only work with the water but capture and manipulate it.

The current environmental conditioned which as worsened over several hundred years has given way to a welcomed type of disorder in 2230. Within the structure, the disorder comes from the uncanny way of living. The sports facilities are distorted, the refuge spaces are no longer above ground, the spaces of exchange are within and above a structure that resembles

2230: BLOTTING DISTORTIONS

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a type of topography.


R E S E A R C H E S S AY S T H E

F L Â N E U R

A N D

T H E

P O S T H U M A N

C I T Y

I N D O N N A H A R AWAY ’ S C Y B O R G M A N I F E S T O (1991), T H E C Y B O R G I S U N - N AT U R A L W H I C H S H E O U T L I N E S A S A B E I N G T H AT C A N ’ T B E M E R G E D I N T O A N Y M O D E R N I S T C A T A L O G U E O F N A T U R A L “ T Y P E S ” A S S H E C A L L S I T. “ I T I S N O T F O U N D I N T H E W I L D S , N O R D O E S I T Y E A R N F O R I T A S A S P A C E O F E S C A P E O R R E F U G E . O P P O S I T E T O T H E “ G O D T R I C K O F S E E I N G E V E R Y T H I N G F R O M N O W H E R E ” ( H A R A W A Y, 1 9 9 1 ) , I T D O E S N ’ T P R E T E N D T O H A V E A N A L L - K N O W I N G I M A G E O R U N D E R S T A N D I N G O F T H E W O R L D A N D O F S P A C E B U T, S E E S T H E C O N S T R U C T I O N O F S P A C E A S A C O N S E Q U E N C E O F T H E D I G I T A L I Z A T I O N O F T H E B O D Y A S A S I M U L A T E D E X I S T E N C E I N A N E T W O R K . S H E M E N T I O N S I N H E R W R I T I N G T H A T T H E C Y B O R G “ I S O U R O N T O L O G Y, I T G I V E S U S O U R P O L I T I C S ” ( 1 9 9 1 , P. 1 5 0 ) . T H E C Y B O R G H A S H A D A N I N F L U E N T I A L E F F E C T O N O U R I D E A S B E Y O N D I T S O R I G I N A L I N V O L V E M E N T I N T H E G E N D E R P O L I T I C S O F T H E P A S T C E N T U R Y. T H E C I T Y ( U R B A N J U N G L E ) I S W H E R E T H E C Y B O R G F I N D S I T S T H E O R E T I C A L H O M E , A N D I T I S I N T H E P O L I T I C S O F T H E S T R E E T W H E R E I T S P O T E N T I A L A S A F I G U R E T H AT S TA N D S I N O P P O S I T I O N T O T H E F L Â N E U R I S D I S T I N G U I S H E D. I N T H E O R I Z I N G S T R E E T S F O R C Y B O R G S , W E I N T E N D T O R E T U R N T O T H E S T R E E T S A S T H E S PA C E W H E R E E V E R Y D AY L I F E I S P E R F O R M E D B U T W I T H A N U N D E R S TA N D I N G T H AT P E R F O R M AT I V I T Y D E M A N D S A C C O U N TA B I L I T Y I N R E L AT I O N T O T H AT S PA C E .

“ T H E D I S T I N C T I O N B E T W E E N T H E C I T Y A N D T H E S T R E E T, I T I S T H E S T R E E T W H I C H I S T H E H U N T I N G G R O U N D O F T H E F L Â N E U R , T H E “ U R B A N J U N G L E ” T H A T T H E A D V E N T U R E R M U S T P E N E T R A T E I N O R D E R F O R T H E C I T Y T O E M E R G E A S A C O N C E P T U A L T O T A L I T Y… T H E “ L A B Y R I N T H W A L K E R ” A N D T H E “ L A B Y R I N T H V I E W E R ” W H E R E T H E L AT T E R I S P R I V I L E G E D W I T H A N O V E R V I E W A N D U N D E R S TA N D I N G O F T H E T O TA L I T Y W H I C H T H E F O R M E R I S D E N I E D. “ T H E F L Â N E U R ,” S H E W R I T E S , “ I S N O T O N LY A S P E C TAT O R , H E I S PA R T O F T H E C I T Y L A B Y R I N T H , A N D H I S S T E P S C O N S T I T U T E I T S O U T L I N E . H E I S B O T H V I E W E R A N D W A L K E R .” A S C Y B E R F L Â N E U R S W E C O M E I N T O T H I S D U A L P E R S P E C T I V E . W E A R E L A B Y R I N T H W A L K E R S W H O S E S T E P S E S TA B L I S H T H E O U T L I N E O F T H E P O S T - U R B A N , B O T H AT G R O U N D L E V E L A N D I N T H E V I R T U A L S PA C E O F T H E N E T W O R K S W H E R E , A S L A B Y R I N T H V I E W E R S , W E B O T H P R O D U C E A N D C O N S U M E I T A S S P E C TA C L E I N T H E S A M E W A Y T H AT T H E F L Â N E U R P R O D U C E S T H E M O D E R N C I T Y A S “ P H A N TA S M A G O R I A .” ( S T R E E T S FOR CYBORGS: THE ELECTRONIC FLÂNEUR AND THE POSTHUMAN CITY BY SHAW) “ C I T I E S A R E S I T E S O F S P E C TA C L E . W E WA L K A R O U N D, F L A N E U R A N D V O Y E U R , L O O K I N G I N T O FA C E S A N D S H O P W I N D O W S , AT P O S T E R S , S C R E E N S , A N D F A C A D E S , S C A N N I N G F O R T H E N E W, T H E U N E X P E C T E D , T H E B E A U T I F U L , A N D T H E W I C K E D . T H E ‘ S C R E E N ’ O F T H E C I T Y I S A C L U T T E R E D K A L E I D O S C O P E , A L L S H A R D S V Y I N G F O R A T T E N T I O N . ” ( I N T I M A T E P U B L I C S M E M O R Y, P E R F O R M A N C E , A N D S P E C T A C L E I N U R B A N E N V I R O N M E N T S B Y B R O E C K M A N N ) T H E B I G G E S T A N D M O S T S I G N I F I C A N T P U R P O S E O F T H E C I T Y I S T O I N S P I R E T H E M O S T L I K E LY N U M B E R O F A S S E M B L I E S ( C O M I N G T O G E T H E R , M O R E P U B L I C ) A N D E N C O U N T E R S ( M O R E P R I VAT E ) A M O N G S T A L L I N D I V I D U A L S , C L A S S E S A N D G R O U P S , P R O V I D I N G A S TA G E W H I C H T H E T H E AT E R O F S O C I A L L I F E M AY B E P O R T R AY E D W I T H T H E A C T O R S TA K I N G T U R N S A S O N L O O K E R S A N D O N L O O K E R S ( V I E W E R S ) A S A C T O R S ( P E R F O R M E R S ). T H E AT R E C E N T E R S O N A C O N T R A D I C T O R Y R E L A T I O N S H I P T O R E A L I T Y. I T W O R K S W I T H S P A C E S A N D P E O P L E T H A T M A T C H O U R U N D E R S T A N D I N G O F R E A L I T Y B O T H I N T H E C O N T E X T O F I T S M A T E R I A L A N D P H Y S I C A L I M A G E , W H I C H C O U L D T H E N B E A C C E P T E D A S T R U T H O R R E A L I T Y. “ T H E A T E R ’ S A P P E A L C O N S I S T S I N I T S C A PA C I T Y T O T R A N S L AT E R E A L I T Y I N T O L A N G U A G E W I T H O U T H A V I N G T O C H A N G E T H E M E D I U M .” ( S P I E G L , 2 0 0 0 ) A L M O S T A L W A Y S , P E O P L E P R E T E N D T O B E O T H E R P E O P L E A N D S PA C E S R E P L I C AT E O T H E R S PA C E S .

W E C O U L D A R G U E T H A T T H E A T R E I S T R Y I N G T O M A K E U S F O R G E T ( D I S T A N C E F R O M ) R E A L I T Y W H I C H , I N T H A T I N S T A N T O N L Y E X I S T S A S M E M O R Y, A S I F PA U S I N G R E A L I T Y ( S T E P P I N G O U T ) A N D R E S U M I N G O N C E A G A I N , W H E N W E L E AV E T H E T H E AT R E , M A N I P U L AT I N G T H E F L O W O F T I M E J U S T A S

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CINEMA DOES.

Gina Nikbin


A N D R E I T A R K O V S K Y, D E S C R I B E D T H E A R T O F C I N E M A A S “ S C U L P T I N G I N T I M E , ” A S S E R T I N G T H A T P E O P L E G O T O T H E M O V I E S B E C A U S E T H E Y L O N G T O E X P E R I E N C E “ T I M E L O S T O R S P E N T O R N O T Y E T H A D .” M I S E - E N - S C E N E , D I R E C T I N G A N D E D I T I N G E L E V AT E S O U R R E A L I T Y A N D T U R N S I T I N T O A R E L I VA B L E E X P E R I E N C E E I T H E R T H R O U G H T H E AT R E O R C I N E M A .

T H E R EA L O R T H E AU T H E N T I C B ECO M ES B EAU T I F U L W H E N I T I S R E P RO D U C E D A S A FA L L AC Y A N D I N V E RTS O U R K N OW N R EA L I T Y A S I M AG I N A RY (F I L M). T H E A T R E D E P E N D S O N I T S O N L O O K E R S T O P L A Y T H E I R P A R T, A T S O M E L E V E L T H E A U D I E N C E A C C E P T S T H A T T H E Y A R E G O I N G T O S E E T H I S R E P R O D U C E D A N D E L E VAT E D R E A L I T Y A N D R E S P O N D T O I T A S I F I T W E R E R E A L , H E R E R E A L I T Y I S T H E R E F O R E K N O W I N G LY E X P O S E D T O T H E C I R C U M S TA N C E S O F I L L U S I O N I S M . T H I S O P E N S T H E D O O R T O S O M E Q U E S T I O N S : ‘ W H AT D O E S T H E E X P E R I E N C E O F I L L U S I O N I S M M E A N I F O N E K N O W S P E R F E C T LY W E L L T H A T I T I S I L L U S O R Y ? W H A T I S T H E M E A N I N G O F T H E E X P E R I E N C E O F T H E R E P R O D U C E D R E A L I T Y, I F W E A R E C O N V I N C E D T H A T I T I S N O T R E A L , A N D Y E T S T I L L W E L C O M E I T S E F F E C T S ? H O W T O U S E T H E S E E F F E C T S A N D I N F U S E T H E M W I T H A R C H I T E C T U R E T O C R E AT E A H A L L U C I N AT O R Y E X P E R I E N C E ? ’ WHILE READING THIS LINE FROM BENJAMINS THE WORK OF ART IN THE AGE OF ITS TECHNOLOGICAL REPRODUCIBILITY “DREAMS AND NIGHTMARES ALIKE CREEP OUT OF CLOSETS AND FROM UNDERGROUND HOLES, BUT THEY CAN VERY WELL ALSO APPEAR ON THE BIG SCREEN, WITHOUT ANY C A M O U F L A G E .” ( B E N J A M I N ) I T M A D E M E T H I N K A B O U T H O W T O A P P R O A C H M A N I P U L AT I N G A N D D I S T O R T I N G T H E E X I S T I N G C O N D I T I O N S I N T H E C I T Y T O C R E AT E A P L AT F O R M O R A C O N D I T I O N T H AT W O U L D A L L O W F O R T H E F L A N E U R T O H A L L U C I N AT E I N , T O B L U R T H E L I N E S B E T W E E N T H E “ L A B Y R I N T H W A L K E R ” A N D T H E “ L A B Y R I N T H V I E W E R ”. W H A T Y O U S E E I S N O T W H A T I T A C T U A L L Y I S . B O T H T H E “ L A B Y R I N T H W A L K E R ” A N D T H E “ L A B Y R I N T H V I E W E R ” A R E C O N S TA N T LY T R A D I N G P L A C E S .

A R C H I T E C T U R E H A S A H U G E E F F E C T O N H O W C I T I Z E N S O R PA S S E R S B Y I N A C I T Y C O N N E C T A N D F O R M A R E L AT I O N S H I P W I T H T H AT E N V I R O N M E N T A N D S U B S E Q U E N T L Y, T O E A C H O T H E R . S O H O W C A N T H I S ‘ N E W P O S T H U M A N A R C H I T E C T U R E ’ C H A L L E N G E A N D T R A N S F O R M O U R A L R E A D Y P E R C E I V E D N O T I O N S O F A C I T Y, W H I C H I N T H I S C A S E , I S L O C A T E D I N T H E E A S T R I V E R P A R K S S P L I T B E T W E E N M A N H A T T A N A N D B R O O K L Y N I N N Y C ? T O C H A L L E N G E T H E WAY O F T H E O L D A N D C R E AT E A N E W WAY O F I N T E R A C T I N G A N D P E R C E I V I N G A C I T Y T H AT I S C O M P L E T E LY D I F F E R E N T F R O M T H E N O T I O N S O F T H E P A S T. A N D I N D O I N G S O W H E R E I S T H E L I N E B E T W E E N A R T ( T H E A T R E ) A N D A R C H I T E C T U R E ? H O W D O B O T H O R E I T H E R O N E C H A N G E A N D I N T E R A C T WITH THE ENVIRONMENT OF ITS TIME (2230)?

B A Z I N W R I T E S I N W H AT I S C I N E M A ? T H E O N T O L O G Y O F T H E P H O T O G R A P H I C I M A G E : “ T O D AY T H E M A K I N G O F I M A G E S N O L O N G E R S H A R E S A N A N T H R O P O C E N T R I C , U T I L I T A R I A N P U R P O S E . I T I S N O L O N G E R A Q U E S T I O N O F S U R V I V A L A F T E R D E A T H , B U T O F A L A R G E R C O N C E P T, T H E C R E A T I O N O F A N I D E A L W O R L D I N T H E L I K E N E S S O F T H E R E A L , W I T H I T S O W N T E M P O R A L D E S T I N Y.” AT T H E B E G I N N I N G O F H U M A N C I V I L I Z AT I O N , A R C H I T E C T U R E W H I C H I S D E F I N E D T O M E A S T H E P H Y S I C A L E N V I R O N M E N T I N W H I C H P E O P L E L I V E , WA S A N E C E S S A R Y M E A N S O F S U R V I VA L , H A B I T U AT I N G C AV E S , T R E E S A N D R O C K S , W H I C H A S W E E V O LV E D T H R O U G H T I M E D E V E L O P E D I N T O S T U R D I E R P R O T E C T I V E E N C L O S U R E S T O P R O T E C T U S F R O M O U T S I D E R S A N D A S S E R T I N G R U L E B U T L AT E R O N ( T H E L A S T C E N T U R Y ) A R C H I T E C T U R E B E C O M E M O R E . I T B E C A M E M O R E I N T E N T I O N E D . I T S O M E H O W T O U C H E S T H E P E O P L E W H O U S E I T A N D L I V E I N I T, I T A F F E C T S H O W W E R E L A T E T O O U R E N V I R O N M E N T AND MOREOVER THE WORLD.

Gina Nikbin


I N O R D E R T O D E S I G N F O R A P O S T H U M A N C O N D I T I O N , W E N E E D T O U P D AT E O U R U N D E R S TA N D I N G O F W H AT I S D E S I R A B L E A N D AT TA I N A B L E A S W E L L A S O U R V O C A B U L A R Y I N T H E 2 2 3 0 C O N T E X T. W E N E E D T O D E S I G N F O R T H E C Y B E R F L A N E U R .

“ T H E E N C L O S U R E O F A R O O M , T H E R E L AT I O N B E T W E E N T H E I N S I D E A N D O U T S I D E O F A B U I L D I N G , T H E D I M E N S I O N S O F T H E L O C A L , T H E B O U N D A R I E S O F A C I T Y, T H E B O R D E R S O F A N A T I O N - S T A T E , H A V E A L L B E C O M E I N C R E A S I N G L Y C O N T E S T E D A N D S U S C E P T I B L E T O N E W F O R M S O F M O B I L I T Y A N D T R A V E R S A L . H O W E V E R , T H I S V O L A T I L I T Y D O E S N O T M E A N T H A T T I M E A N D S P A C E H A V E S I M P L Y ‘ D I S A P P E A R E D ’. P R O C L A M A T I O N S C O N C E R N I N G T H E ‘A N N I H I L AT I O N O F T I M E A N D S PA C E ’ H A V E B E E N R E G U L A R LY A N N O U N C E D T H R O U G H O U T M O D E R N I T Y I N C O N J U N C T I O N W I T H T H E D E P L O Y M E N T O F N E W T R A N S P O R T A N D M E D I A T E C H N O L O G I E S . ” ( M O B I L I T Y, C O S M O P O L I T A N I S M A N D P U B L I C S P A C E I N T H E M E D I A C I T Y B Y M C Q U I R E ) H E R E A N N I H I L AT I N G T I M E A N D S PA C E M O S T L I K E LY M E A N S A C C E L E R AT I N G C O M M U N I C AT I O N S A N D T R A N S P O R TAT I O N . S O M E P E O P L E H AV E S U R M I S E D T H AT T I M E I S N AT U R E ’ S WAY O F E N S U R I N G N O T E V E R Y T H I N G H A P P E N S AT O N C E . B U T W H E N W E L I V E I N A T I M E W H E R E W E E X P E C T A N D D E M A N D F O R T H AT T O H A P P E N , H O W W I L L O U R R E L AT I O N S H I P W I T H T I M E C H A N G E A N D M U TAT E ? J U S T A S O U R I N D I V I D U A L L I F E H A S D E V E L O P E D A C O N C AT E N AT I O N O F W H AT W E R E O N C E F I R M LY D I V E R S E L E V E L S O F E X P E R I E N C E , S O C I E T Y H A S B E C O M E A C O L L A G E O F D I F F E R E N T T I M E E X P E R I E N C E S AS WELL. B U T N O T A L L T I M E I S T H E S A M E . I N F A C T, T H E A N C I E N T G R E E K S H A D T W O D I F F E R E N T W A Y S O F U N D E R S T A N D I N G T I M E : C H R O N O S A N D K A I R O S . C H R O N O S I S C H R O N O L O G I C A L T I M E ( S E Q U E N T I A L ) A N D K A I R O S R E F E R S T O A M O M E N T O F U N S P E C I F I E D S PA N I N W H I C H A S I G N I F I C A N T E V E N T HAPPENS. A GOOD EXAMPLE OF THIS IS WHEN THE BALL DROPS IN TIMES SQUARE ON NYE. THE COUNT DOWN FOR THE BALL TO DROP IN TIMES SQUARE IS CHRONOS TIME

BUT WHEN THE COUNTDOWN GETS TO ZERO, HERE THE ANCIENT GREEKS DEFINITION OF TIME SWITCHES TO KAIROS.

WHERE NO ONE IS COUNTING DOWN THE SECONDS ANYMORE. WE ARE JUST LIVING IN THE MOMENT AND ENJOYING A SHARED EXPERIENCE.

O N E C A N D R AW T H E C O N C L U S I O N T H AT K A I R O S I S M O R E S PAT I A L T H A N C H R O N O S . T H I S C O N C E P T R E M I N D E D M E O F R I V E R O F S H A D O W S : E A D W E A R D M U Y B R I D G E A N D T H E T E C H N O L O G I C A L W I L D W E S T,

A DRAFT IN REBECCA SOLNIT’S

“BEFORE THE NEW TECHNOLOGIES AND IDEAS, TIME WAS

A R I V E R I N W H I C H H U M A N B E I N G S W E R E I M M E R S E D , M O V I N G S T E A D I L Y O N T H E C U R R E N T, N E V E R F A S T E R T H A N T H E S P E E D S O F N A T U R E - O F C U R R E N T S , O F W I N D , O F M U S C L E S . T R A I N S L I B E R A T E D T H E M F R O M T H E F L O W O F T H E R I V E R O R I S O L A T E D T H E M F R O M I T. P H O T O G R A P H Y A P P E A R S O N T H I S S C E N E A S T H O U G H S O M E O N E H A D F O U N D A WAY T O F R E E Z E T H E WAT E R O F PA S S I N G T I M E ; A P P E A R A N C E S T H AT W E R E O N C E A S F L U I D A S W A T E R R U N N I N G T H R O U G H O N E ' S F I N G E R S B E C A M E S O L I D O B J E C T S . A P P E A R A N C E S W E R E P E R M A N E N T, I N F O R M A T I O N W A S I N S T A N T A N E O U S , T R A V E L E X C E E D E D T H E F A S T E S T S P E E D O F B I R D , B E A S T, A N D M A N . I T W A S N O L O N G E R A N A T U R A L W O R L D I N T H E S E N S E I T A L W A Y S H A D B E E N , A N D H U M A N B E I N G S W E R E N O L O N G E R C O N TA I N E D W I T H I N N AT U R E .”

A S T H E M U L T I P L E T E X T S H A V E T A L K E D A B O U T, O U R R E L A T I O N S H I P W I T H I M A G E S , A R C H I T E C T U R E A N D T I M E H A S C H A N G E D A N D M U T A T E D O V E R T H E Y E A R S A N D W I L L C O N T I N U E T O D O S O M AY B E E V E N M O R E D R A S T I C A L LY B Y 2230 W H E N C L I M AT E C O N D I T I O N S W I L L M O S T L I K E LY B E AT A N E X T R E M E . H O W C A N T H E S T R U C T U R E W E D E S I G N F U L F I L L T H E M O S T B A S I C N E E D S Y E T P R O V I D E A U N I Q U E H A L L U C I N AT O R Y E X P E R I E N C E F O R T H E S E C Y B E R F L Â N E U R S ? A S T R U C T U R E W H E R E O N C E Y O U E N T E R , T I M E I S S U S P E N D E D, S P E D U P A N D S L O W E D D O W N T O E I T H E R C AT E R T O A S P E C I F I C E X P E R I E N C E O R T O C R E AT E M O M E N T S O F ( C O N T R O L L E D ?) H A L L U C I N AT I O N A N D C O N F U S I O N , I N A WAY M I S P L A C E T H E C Y B E R F L Â N E U R B O T H I N T I M E A N D L O C AT I O N , W H E R E W E L O S E A L L S E N S E O F T H E R E A L A N D T H E I M A G I N E D. H O W D O W E D E S I G N S PA C E S T O I M P L E M E N T T H E WAY C H R O N O S O R KAIROS DEFINED IT?

Gina Nikbin


A

V I O L A T I O N

O F

T H E

P E R I P H E R Y

I N R O B E R T S M I T H S O N ‘ D I A L E C T I C A L L A N D S C A P E , H E TA L K S A B O U T H O W T H E C R E AT I O N O F C E N T R A L PA R K I S A V I O L AT I O N O F T H E P R E V I O U S L A N D S C A P E A N D P R O G R A M T H AT E X I S T E D. T H E N E W E A R T H W I T H I N T H E PA R K I S M A N - M A D E , A T Y P E O F A B S T R A C T E D U N D E R S TA N D I N G O F W H AT W A S . T H E N E W T O P O G R A P H Y I S N O T O N LY A N “A B S T R A C T I O N [ B U T A L S O ] A R E P R E S E N TAT I O N O F N AT U R E D E V O I D O F ‘ R E A L I S M ’ B A S E D O N M E N TA L O R C O N C E P T U A L R E D U C T I O N . T H E R E I S N O E S C A P I N G N AT U R E T H R O U G H A B S T R A C T R E P R E S E N TAT I O N … B U T T H I S D O E S N O T M E A N A R E N E W E D C O N F I D E N C E I N N AT U R E , I T S I M P LY M E A N S T H AT A B S T R A C T I O N I S N O C A U S E F O R FA I T H ” (122)3. A N “ E C O L O G I C A L O E D I P U S C O M P L E X . P E N E T R AT I O N O F M O T H E R E A R T H ’ B E C O M E S A P R O J E C T I O N O F T H E I N C E S T TA B O O O N T O N AT U R E … O E D I P U S T H AT H E ‘ D A R E D T O S E E D T H E S A C R E D F U R R O W W H E R E H E W A S F O R M E D ’ ”. ( 1 2 2 ) 3 . B E F O R E C E N T R A L P A R K E X I S T E D T H E S L U M S O F M I D D L E M A N H A T T A N , T H E L I T E R A L R U I N S O F T H E P A S T. T H E N E W C I T Y S I T E C L A I M S T O R E T A K E W H A T W A S L O S T. I B E L I E V E T H I S I S I M P O R T A N T B E C A U S E I A M A P P R O A C H I N G T H E P R O J E C T I N A S I M I L A R W A Y.

“A P A R K C A N N O L O N G E R B E S E E N A S ‘A T H I N G - I N - I T S E L F,’ B U T R A T H E R A S A P R O C E S S O F O N G O I N G R E L A T I O N S H I P S E X I S T I N G I N A P H Y S I C A L R E G I O N - T H E P A R K B E C O M E S A ‘ T H I N G - F O R - U S ’… A W A Y O F S E E I N G T H I N G S I N A M A N I F O L D O F R E L A T I O N S , N O T A S I S O L A T E D O B J E C T S . N A T U R E F O R T H E D I A L E C T I C I A N I S I N D I F F E R E N T T O [ T H E ] F O R M A L I D E A L” ( P G . 1 1 9 ) 3 .

T H E P R O J E C T TA K E S O N T H E P O S T - H U M A N C O N D I T I O N B E C A U S E T H E P R O J E C T C A N N O T F O R S E E N AT U R A L C O N D I T I O N S A N D I S M A N I P U L AT E D ENOUGH TO PLEASE HUMAN CONDITION.

A S “ N AT U R E ’ S C O N D I T I O N S A R E U N E X P E C T E D,[ A N D ] R E M A I N C A R R I E R S O F T H E U N E X P E C T E D A N D O F

C O N T R A D I C T I O N O N A L L L E V E L S O F H U M A N A C T I V I T Y, B E I T S O C I A L , P O L I T I C A L , O R N A T U R A L ” ( 1 1 9 ) 3 . T H E P A R T S O F R U I N A N D M E M O R Y A N D FUTURE ARE CRAFTED TOGETHER AS THE ARCHITECTURE

R I S E S A N D G R O W S O U T O F T H E WAT E R . A F R A N K E N S T E I N O F S U R R E A L E X P E R I E N C E S T H AT

A C K N O W L E D G E S T H E P O S T H U M A N C O N D I T I O N N O L O N G E R E X C L U S I V E LY R E P R E S E N T S T H E H U M A N I T Y B U T A L S O P R O V E S ; “ T H E R E P R E S E N TAT I O N O F H U M A N B E I N G S B Y M E A N S O F A N A P PA R AT U S H A S M A D E P O S S I B L E A H I G H LY P R O D U C T I V E U S E O F T H E H U M A N B E I N G ’ S S E L F - A L I E N AT I O N ” (32)1. 2 2 3 0 I N T R O D U C E S T H E N E W C Y B O R G C I T Y, N O T A C I T Y F O R C Y B O R G S B U T T H E C I T Y I S A C Y B O R G I T S E L F . I T H A S B E C O M E A U T O N O M O U S F R O M T H E L A N D S N O W F L O O D E D I N N E W Y O R K . T H E M A C H I N E T A K E S O N P A R T H U M A N I T Y, I N D U S T R I A L S T R U C T U R E , A N D E A R T H T O C R E A T E V A R Y I N G CONDITIONS OF SYSTEMS. THE NEW CITY IS CYBORG, NOT POTENTIAL UTOPIAN OR DYSTOPIAN BUT CONFLICTS WITH SOCIAL POTENTIAL OF 2230. W H AT I S C Y B O R G ? I S I T A M Y T H , O R G A N I S M O R M A C H I N E ?

“ T H E C Y B O R G I S R E S O L U T E L Y C O M M I T T E D T O P A R T I A L I T Y, I R O N Y, I N T I M A C Y, A N D P E R V E R S I T Y . I T I S O P P O S I T I O N A L , U T O P I A N , A N D C O M P L E T E L Y W I T H O U T I N N O C E N C E . N O L O N G E R S T R U C T U R E D B Y T H E P O L A R I T Y O F P U B L I C A N D P R I VAT E … N AT U R E A N D C U LT U R E A R E R E W O R K E D ; T H E O N E C A N N O L O N G E R B E A R E S O U R C E F O R A P P R O P R I AT I O N O R I N C O R P O R AT I O N B Y T H E O T H E R ” (151)2.

T H E C Y B O R G I S A N I N D U S T R I A L R E P R O D U C T I O N O F H U M A N L I F E A N D W I L L N O T N E C E S S A R I LY A C T I N O R G A N I C ( H U M A N ) WAY S . T H E C Y B O R G I S P O S T G E N D E R C A N E Q U A L L I B E R AT I O N O F G E N D E R F R O M N AT U R A L N O R M S B U T A L S O C A N B E P O S T - S E X U A L . T H E C I T Y C Y B O R G C U T S T I E S W I T H H U M A N O R I G I N U N I T Y A N D I S A U T O N O M O U S O F S E L F. T H E C I T Y C Y B O R G H A S N O B I O L O G I C A L D E T E R M I N A T I O N ; “ U N L I K E T H E H O P E S O F F R A N K E N S T E I N ’ S M O N S T E R , T H E C Y B O R G D O E S N O T E X P E C T I T S FAT H E R T O S A V E I T T H R O U G H A R E S T O R AT I O N O F T H E G A R D E N …T H E C Y B O R G D O E S N O T D R E A M O F C O M M U N I T Y O N T H E M O D E L O F T H E O R G A N I C F A M I L Y, T H I S T I M E W I T H O U T T H E O E D I P A L P R O J E C T . T H E C Y B O R G W O U L D N O T R E C O G N I Z E T H E G A R D E N O F E D E N ; I T I S N O T M A D E O F M U D A N D C A N N O T D R E A M O F R E T U R N I N G T O D U S T ” (151)2. W H AT I S T H E B R E A K D O W N B E T W E E N PA R T S A N D W H O L E A N D B R E A K D O W N B E T W E E N M A N A N D A N I M A L , M A N A N D M A C H I N E , M A N A N D N A T U R E ? T H E R E I S N O N E I N T H I S P O S T - H U M A N C I T Y, H I E R A R C H Y O F SPECIES IS OUTLINED BY ARCHITECTURAL FUNCTION AND AFFORDANCES. HOW IS THE HUMAN REORGANIZED TOWARDS OTHER? THE POSITION OF O T H E R I S A N E W C O N D I T I O N W H E R E T H E C Y B O R G O P E R AT E S , S E PA R AT E F R O M O N T O L O G Y A N D I L L U S T R AT E S A D I S P L A C E M E N T O F H O M E . T H E P R O J E C T D I S C U S S E S T H E R E L AT I O N S H I P B E T W E E N I N T E R N A L A N D E X T E R N A L S T I M U L I A N D P R O V I D E S A N I M A G I N AT I O N O F U R B A N V I S I O N Q U E S T I O N I N G W H E R E BOUNDARIES BEGIN AND END.

Iyatunde Majekodunmi


SITE: EAST RIVER We conceive our project as an island situated in the East River that connects and bridges, Manhattan and Brooklyn, and allows us to reimagine and transform New York’s landscape. We also intend to develop an East River park that spans Manhattan and Brooklyn by connecting what are currently the East village and Bushwick neighborhoods. The East River Park exist on the Manhattan side and the Brooklyn side. The name of each location presents a duality, -one place, on two opposing sites. We envision the structures to formulate some type of activated multi-story island architecture which entertains and nurtures

2230

the freedoms of all people. Using the archetype of a mall and a sports complex, we will create ecosystems which will serve the public with various functions and offer a wide range of experiences. The project will be adapted to and take advantage of rising sea levels in order to create a new hallucinatory predicament where rational conditions and expectations give way to experiences governed by distortion, hallucination, and unreason. The experience from one edge to the other should be a hallucinatory experience. You are both the subject and the viewer based on your location throughout the structure. An island bridge over and under the water bed of the East River, resting upon landfills, aims to reimagine and transform the sectional logic of the city as it is transformed by rising sea levels and

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climate change.

Iyatunde Majekodunmi & Gina Nikbin


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E A S T

R I V E R

T U N N E L

D I A G R A M S

Iyatunde Majekodunmi & Gina Nikbin


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P L A N

O F

F L O O D

R O C K

E X C A V A T I O N

SITE

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T

H E

O L D

E A S T

R I V E R

Iyatunde Majekodunmi & Gina Nikbin


SITE D I A G R A M

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A X O N


E A S T

R I V E R ,

N Y

SITE

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E C O L O G I C A L

D I A G R A M

IYATUNDE MAJEKODUNMI & GINA NIKBIN


SKIN

SOLID

ELASTIC

CAST

D I A G R A M

LIGHTWEIGHT FRAME AND CAST CONCRETE

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FA B R I C-

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M A T E R I A L


PLANS

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S E R I E S O F H O R I Z O N T A L C U T S S H O W I N G T H E T O P O G R A P H Y C H A N G E S

IYATUNDE MAJEKODUNMI & GINA NIKBIN


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P R O J E C T L E N G T H : 3 , 4 7 0 ' P R O J E C T H E I G H T : 3 4 0 '


SECTIONS + AXON

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S E R I E S O F V E R T I C A L C U T S S H O W I N G T H E T O P O G R A P H Y C H A N G E S

IYATUNDE MAJEKODUNMI & GINA NIKBIN


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D I S T O R T E D

T O P O G R A P H Y

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WAX S T U D I E S

IYATUNDE MAJEKODUNMI & GINA NIKBIN


D I S T O R T E D

S K I N

+

E N C L O S U R E

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Series of wax studies to examine the translucency and structural integrity of the proposed skin of the project.


WAX S T U D I E S

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S U R F A C E

A N A L Y S I S

IYATUNDE MAJEKODUNMI & GINA NIKBIN


WAX + P L A S T E R S T U D I E S

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L A B Y R I N T H


T R A N S I T R E C R E AT I O N ARCADE EXCHANGE Our project redevelops the edges of Manhattan and Brooklyn as they will exist in 2230. We envision a starkly transformed water line where the logic of the twentieth-century urban grid gives way to experiences of chaos, distortion, unreason and climate change. For every innovation in productivity and communications, there is a side effect that causes miscommunication, wasted time and energy that leads to dystopic consequences. The greatest of these is climate change. The goal is to create a multi-program renovation that exists above, on and below the distorted water line which has invaded the once occupied lands, mutating the edges of the city. Our project will reconnect the East River park on the edge of the isle of Manhattan and the East River park on the edges of Williamsburg in order to connect the newly

2230

developed islands.

Areas of activity, residence and exchange are now either abandoned or completely submerged in the water. Our design attempts to reclaim and provide the survivors of New York City what was lost to them over time. Our design encompasses the spaces which were lost years ago due to the flood. In the beginning, the project grew slowly over the years, simply creating a connection from the Manhattan East River Park edge to the Brooklyn East River Park edge, creating a programmed island. Here now in 2230 the growth of the project and design has taken up part of the city itself as what was once New York lies in ruins and drowned by the water. Our design is not only a response to the environmental disaster but serves as a memory of the past.

By 2230, our design attempts to recreate, reabsorb what was lost within the city along the once prominent edges of Manhattan and Brooklyn according to a logic of distortion and hallucination. The architectural distortion makes one increasingly aware of the building’s

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overall framework and how its individual elements come together to reinforce it.


POSTHUMAN

By distorting familiar systems, we intend to challenges the notion that technology must be seamless, faultless, and disturbance-free. Once the structure is distorted, people can begin to question boundaries and develop new and unique voices or modes of expression.

The experience from one edge to the other should be a hallucinatory experience. You are both the subject and the viewer based on your location throughout the structure. An island bridge over and under the water bed of the East River, resting upon landfills, aims to reimagine and

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transform the sectional logic of the city as it is transformed by rising sea levels and climate change.


PROCESS

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INK+ GEL

IYATUNDE MAJEKODUNMI & GINA NIKBIN


+

G E L

S T U D I E S

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1

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I N K


INK GEL STUDIES 1B

ACTIVITY

REFUGE

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EXCHANGE

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INK + GEL STUDIES 2


INK-BLOT OVER TIME DIAGRAM

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Series of investigations derived from our earlier ink studies to explore how the form will grow over the years as the water levels rise. IYATUNDE MAJEKODUNMI & GINA NIKBIN


3 . 0 _ C A R T O G R A P H I C

N A R R A T I V E

SITE - - - -

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CONCEPTUAL MODELS OF EDGE CONDITION CONNECTION SITUATED ON THE EAST RIVER BETWEEN MANHATTAN AND BROOKLYN.


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I N T E R I O R

R E N D E R S

IYATUNDE MAJEKODUNMI & GINA NIKBIN


E X T E R N A L

R E N D E R S

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The interior spaces of the project have a hallucinatory effect on the inhabitants of its spaces. A rocky landscape obstructing both the path and the view of the voyagers, cavernous walls that house the many endangered species of the time, pools of collected rain water suspended from above housing the marine life that is at risk due to the conditions of the east river in 2230.


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IYATUNDE MAJEKODUNMI & GINA NIKBIN


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Site Intervention// Bridge

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The above model focuses on the topography we have created on our proposed structure, also highlighting the enclosures and opening that go throughout the landscape. IYATUNDE MAJEKODUNMI & GINA NIKBIN


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IYATUNDE MAJEKODUNMI & GINA NIKBIN


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IYATUNDE MAJEKODUNMI & GINA NIKBIN


D R I F T / A N I M A T E

C O N S T R U C T

1

DRIFT H A L L U C I N A T I O N Movie: Requiem for A Dream Site// Coney Island evacuated Scenes Extracted// 1: Boardwalk dream sequence running to a subject which can never be reached 2: Under the boardwalk, in darkness with lines of light-conversation of life’s desperation Site// Coney Island suffocated with humans Scenes Recreated// 1: Boardwalk sequence running through ocean of humans to get the to subject 2: Under the boardwalk, split conversation scene with animated characters illustrating life in the background

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The most vivid dream in the film is one that comes to Harry while he is on drugs. He sees Marion on the docks in a red dress. The red dress looks almost exactly like the one his mother is trying to fit into with her diet pills, further connecting both the characters and their obsessions into one, unifying whole. There's no noise, only the sound of waves. Harry walks toward her, but he doesn't reach her. The dream is interrupted by Ty returning with drugs. In the end, Harry has a similar dream after his arm is amputated at the hospital but this time, Marion disappears from the end of the docks. She's gone forever. Harry can't connect with Marion because drugs get in the way. The movie shows us this dream (the relationship between Harry and Marion) slowly dying over the course of two hours. It's like a memorial service for their relationship, and for the dreams the other characters have. Everyone's dreams are shattered at the end of the movie, broken beyond repair. Like a person who dies, there is no way to bring them back. Again, showing how fitting the music and the title of the movie are. And that is what I try to achieve in my drawing, showing how all their addictions consume their lives and destroys their dreams. Specifically, referencing the pier from the dream sequence, and the only red element standing at the far end looking out to the beyond. Addiction in this movie is portrayed in many different forms, the most obvious which are drugs: diet pills, heroin, and the less conspicuous ones: food, TV, love‌ which we see each character battle in their own way.


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All key elements collided

Story Spatially Retold

Film: Requiem For a Dream// 2000

Drama

symbolic elements

1h 42m

ADDICTION

Recreating the Landscape Using

The Drawing represents our All addictive elements in the movie and their role in the narrative.

IYATUNDE MAJEKODUNMI & GINA NIKBIN

Drawing: Above ground (Desire, Addictions)) Underground (Hopeless, Prison).


Requiem for a dream Requiem for a dream, shows how the illusion and desperate need to achieve happiness consumes and destroys the members of our society, slowly. Although the movie shows a lot of drug use, it is not about drugs, but a film about addiction and dreams. In Requiem for a dream, the criticism of our society is clear: the individual is alone, without reference, unable to distinguish what is right from what is wrong. Our world, according to the director, Darren Aronofsky, is isolating. Our desires to be happy and achieve this ‘phantom image of happiness’ that has been fed to us through media all of our lives have backfired and instead has made us more unhappy and isolated. Forever reaching for something that simply has never existed. Visually and aesthetically, Aronofsky is able to actually materialize these concepts: the urgency of need and the obsession with consumption. We all know what dreams are. We have them while we're asleep or awake. But what's a requiem? Webster’s dictionary defines it as "a mass for the dead" or "a solemn chant." In other words, it's a haunting piece of music played at a funeral, which is very fitting for the movie, since they are all in one way or the other marching towards their

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Tschumi writes: “Spatial transformations can be included within the time sequence.” In the movie, two of the spaces stood out to me: Above (the pier) and Below: (under the pier) both are in the same location yet both represent such different things in the movie, even the time and technique used to film these spaces are different. The pier itself is shown more like a dream sequence, a bridge to Harry’s wants and desires while under the pier is shot at night, almost claustrophobic for an open space, add the vertical elements in their background and it almost resembles a prison. In this drawing, I chose the two most significant spaces in the movie, above and under the pier and recreated the movie by reaching out and pulling the essential elements that would aid me to recreate a two-hour movie, in one single frame. Here it shows the different meanings the same space can have when represented in fragments, showcasing one of the powers of cinema/ montage. While showing the consumption of drugs, the director chose to sequence the clips one after the other, each only 0.5 seconds long accompanied by a dramatic sound effect. We see Harry’s mouth tear pen a clear plastic bag. We see white powder. We see the heroine being cooked. We see his clenched fist. We see his eyes becoming dilated. The whole sequence only lasts maybe 4 seconds, but it is very powerful and to the point. We see the same technique being used for showing the consumption of heroin, cocaine, coffee, pills, food, TV…linking them all through montage.

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B E R N A R D

T S C H U M I - ”

S E Q U E N C E S ”

I N G R E D I E N T S

A N A L Y S I S / /

O B S E R V A T I O N

1 Tschumi presents cinematic language and its themes as a medium of architecture. Describes movement through space and structure as only a sequence out of many sequences within a frame. Frames which discuss the whole. The order of the complete narration is to be determined by the programmatic functions (Event, Space, Movement). 2 All sequences can oppose or attract one another, alternating the experience of the subject. 3Each sequence carries weight and intervention. 2 With the fore-knowledge of all sequences and frames summarizing into a larger film, to create opposition within the overall unit will always result in controlled and forced calculation. Distortion.

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The distortion lends itself to tools such as fragmentation, displacement, manipulation, erasure, etc. The sibling of the anti-world or antiprediction. 4Focusing on the meaning (allusion, definition, context, drift, explanation, force, gist, import, imitation, interpretation) of every action-the solid-mass--as it cuts (dancing) through space. The distortion and/or “movement notation” mark continuity of manipulated negative space(s). A anti-action or anti-verse formed by a given movement. 5Tschumi emphasize that movement is no longer about linear action and its results in time, but about the space (frame) created from the reaction of that movement. A ripple effect, which has lent itself to the distortions.

6The interpretation of the subject, voyeur and/or exhibitionist will always alter the sequence, the narration is told/untold from various points of view (sites). Therefore, the obstacles/ distortion presented will need to adapt to the mind of whom experiences the sequence-physically, mentally and emotionally. The sequence of experience is most important. What is frame? What is sequence? 7The frame is the machine (mechanical eye) of the voyeur transforming into the entire body. The frame is also the exhibitionist. The duality and juxtaposition of the verse and anti-verse, the formal vs. the distortion is what allows the complete manipulation to exist within a sequence.

IYATUNDE MAJEKODUNMI & GINA NIKBIN


E X T R A C T E D

Q U O T E S

1. “Programmatic sequences that suggest maps and impossible fictions…collections of spaces, frame after frame, room after room, episode after episode…two systems that evoke and attract one another” (pg. 157).

2. “Such opposition is…quite artificial” (pg. 160).

3.” ...sequences have emotional value” (pg. 161). 4. “Moment notation: an extension from the drawn conventions of choreography, it attempts to eliminate the preconceived meanings given to particular actions in order concentrate on their spatial effects” (pg. 161).

5. “…to move is never to go from one place to the next, but always to execute some figure, to assume a certain body of rhythm” (pg. 162). 6. “But architectural sequences do not mean only the reality of actual building, or the symbolic reality of their fictions. An implied narrative is always there, whether of method, use or form. It combines…with its progressive spatial interpretation (which of course alters it) …successive challenges await the new candidate…the route is more important than any one place along it” (pg. 163)

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7. “Frames are both the framing device-conforming, regular solid- and the framed material- questioning, distorting, and displacing…The frame permits the extreme formal manipulations of the sequence” (pg. 166).


INDEX

TERMS

Post Human:

Cinematic:

Refers to an alternative anthropocentric thinking with binaries between nature/ culture; human/non-human; organic/ inorganic.

Space, architecture, and the city could be conceived and represented as seen through the lens of a film camera and constructed into a narrative sequence or a story through film editing.

Human:

Drift (Derive):

Of or relating to the social aspect of people:

One of the basic situationist practices is the derive, a technique of rapid passage through varied ambiances. Derives involve playful-construction behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.

Non- Human:

Singularity:

Not relating to the social aspect of people, humanity.

The hypothesis that the invention of artificial superintelligence will abruptly trigger runaway technological growth, resulting in unfathomable changes to human civilization.

Cartography:

Anthropocentric:

The production of maps, including construction

Viewing and interpreting everything in terms of human experience and values.

of projections, design, compilation, drafting, and

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reproduction

IYATUNDE MAJEKODUNMI & GINA NIKBIN

PHASE 1

L E X I C O N


Hall~loose~in~nation:

Lacking naturalness or spontaneity; forced; contrived; feigned:

1) Hall (threshold). Loose (freedom). In (attracted, interior). Nation (political, whole body, humanity). 2) An interior space, an elongated threshold in which consumes humanity. Freedom from the political human body. (from humanity within a space beyond the mind.)

Superintelligence:

Distortion:

Capacity for learning, reasoning, understanding, and similar forms of mental activity; aptitude in grasping truths, relationships, facts, meanings, etc.

1) To deform, twist, array. 2)To be false and misrepresent. 3) To manipulate, misuse and torture

Te m p o r a l :

Perversion:

1) Of or relating to time. 2) Pertaining to or concerned with the present life or this world; worldly:

1) Unnatural or abnormal. 2) Corruption, immorality. 3) An anomaly. 4) To lead into false judgment or mental error. 5) To persuade righteous belief. 6) The improperly use space. 7) To misguide from proper course, alter circulation.

Binary:

Psychogeographical:

To make an icing cut a template out of paper. Lay the template on the cake, making sure it’s flat.

Exploration of urban environments that emphasizes playfulness and "drifting". It has links to the Situationist International.

Frame:

Hallucination:

1) Human body. 2) Enclosed border. 3) A limitation on control. 4) Enclosed structure with capacity to admit and imprison. 5) State of mind. 6) A successive series of images containing information which create a part of a film on a screen.

1) Consisting of two, duality. 2) Within the posthuman climate of 2030, we consider the two selves. The mind + body. The body + technology. 3) A bipolar existence and conscience reflected as multiple realities experienced

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Artificial:


BIBLIOGRAPHY #1: B A Z I N , A N D R E W H AT I S C I N E M A ? T H E O N T O L O G Y O F T H E P H O T O G R A P H I C I M A G E , CALIFORNIA, 1960. B E N J A M I N , W A L T E R . “ P R O D U C T I O N , R E P R O D U C T I O N A N D R E C E P T I O N .” T H E W O R K O F A R T I N T H E A G E O F M E C H A N I C A L R E P R O D U C T I O N , L O N D O N , 2 0 0 8 . P P. 2 8 – 3 5 . H A R A W A Y, D O N N A J . “ A C Y B O R G M A N I F E S T O : S C I E N C E , T E C H N O L O G Y, A N D S O C I A L I S T - F E M I N I S M I N T H E L A T E T W E N T I E T H C E N T U R Y . ” , N Y, 1 9 9 1 . P P. 1 4 9 – 1 8 1 . S C O T T , M C Q U I R E M O B I L I T Y, C O S M O P O L I T A N I S M A N D P U B L I C S P A C E I N T H E M E D I A C I T Y, L O N D O N , 2 0 0 9 . S H A W, D E B R A S T R E E T S F O R C Y B O R G S : T H E E L E C T R O N I C F L Â N E U R A N D T H E P O S T H U M A N C I T Y, 2 0 1 5 . S M I T H S O N , R O B E R T. “ F R E D E R I C K L A W O L M S T E D A N D T H E D I A L E C T I C A L L A N D S C A P E . ” D I A L E C T I C A L L A N D S C A P E , P P. 1 1 7 – 1 2 8 . S O L N I T, R E B E C C A R I V E R O F S H A D O W S : E A D W E A R D M U Y B R I D G E A N D T H E T E C H N O L O G I C A L W I L D W E S T, USA,2003. S P I E G L , A N D R E A S . “ O L A F U R E L I A S S O N N O N - T R U E N E S S A S T H E N AT U R E O F T H E A T R E . ” A F T E R A L L : A J O U R N A L O F A R T , C O N T E X T A N D E N Q U I R Y, N O . 2 , 2 0 0 0 , P P. 9 7 – 1 0 5 . B R O E C K M A N N , A , I N T I M A T E P U B L I C S M E M O R Y, P E R F O R M A N C E , A N D S P E C TA C L E I N U R B A N E N V I R O N M E N T S , L O N D O N , 2009.

BIBLIOGRAPHY #2:

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B E N J A M I N , W A L T E R . “ P R O D U C T I O N , R E P R O D U C T I O N A N D R E C E P T I O N .” T H E W O R K O F A R T I N T H E A G E O F M E C H A N I C A L R E P R O D U C T I O N , P P. 2 8 – 3 5 . H A R A W A Y, D O N N A J . “ C H A P T E R E I G H T : A C Y B O R G M A N I F E S T O : S C I E N C E , T E C H N O L O G Y, A N D S O C I A L I S T - F E M I N I S M I N T H E L A T E T W E N T I E T H C E N T U R Y . ” C Y B O R G M A N I F E S T O , P P. 1 4 9 – 1 8 1 . S M I T H S O N , R O B E R T. “ F R E D E R I C K L A W O L M S T E D A N D T H E D I A L E C T I C A L L A N D S C A P E . ” D I A L E C T I C A L L A N D S C A P E , P P. 1 1 7 – 1 2 8 .

IYATUNDE MAJEKODUNMI & GINA NIKBIN


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THE 2230 POST HUMAN CONDITION I YAT U N D E M A J E K O D U N M I & G I N A N I K B I N

Profile for Iyatunde Majekodunmni

Thesis Booklet Spring 2019  

The design is situated in 2230. New York City is now mostly flooded or underwater. Areas of activity, residence, and exchange are now either...

Thesis Booklet Spring 2019  

The design is situated in 2230. New York City is now mostly flooded or underwater. Areas of activity, residence, and exchange are now either...