ASSIGNMENT 1: Equus (Images):

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CARD

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DIGITAL

ASSIGNMENT 1:Equus

For my models I have taken the four defining points of Elias and used them to define his ‘home’.

Card Model I: Suppressing

The external shell hides/protects the ‘fragile’ interior similar to an ‘egg’. One façade is guarded by monolithic concrete pillars designed to intimidate those who approach and protect those inside. This represents the external personality protecting a person’s sanity. The opposite façade is considerably ‘weaker’, a curved glass curtain wall fixed to the back of steel pillars. This is the ‘locked cage’ in which we suppress our desires, our hatreds and our fears. This façade also symbolizes the weakness these ‘cages’; While they may offer protection for some time they will eventually break, exposing those inside completely. The angled pillars block the light and cast repetitive linear shadows throughout the building similar to prison bars. As wall is the main source of light the entire structure exhibits the feeling of oppression and being trapped inside oneself.

This is developed further by the tower and empty space is located 3 storeys below the structure. A deep, dark place where the suppressed lie hidden.

Card Model II: Obsessing

Numerous halls represent the many pathways of the mind, thereby reflecting the meticulous nature of having to think and do. In this house, if you do not have a purpose or are distracted you simply wander aimlessly throughout the hallways. The transition between spaces could also be seen as a train of thought. The large distance between unit ‘blocks’ achieves a separation and avoids distraction from their purpose. The uses of these blocks are delegated to represent the difference between conscious and subconscious thought/actions. All of the hallways are open to the outside and are internally are reflective. This is the ‘mirror’ reflecting the character in the ‘empty unit’. This thereby reflects not only the person but their path and hence, their thought. Digital Model I: Observing

Many thin ribbon windows located at head height that transgress the solidness of the external facade. This allows a constant view of the ‘outside’ world and hence the nature of the observer. Large glass walls and monoliths at the front of the structure reinforce the connection with the outside. The monoliths guard the entry to the structure while allowing those inside to observe whoever tries to enter. The monoliths also have another purpose. Each has its own entry and allows for varying levels of introspection; the observation of oneself. Each monolith has different levels of opacity from the outside. The outside can always see in, but the inside cannot always see out. This completely contradicts the idea of observing.

-Monolith 1 can see both in and out.
-Monolith 2 is frosted warping the external into a haze of colour,
-Monolith 3 is frosted and slightly reflective
-Monolith 4 is completely reflective, mirror-like hence forcing introspection.

All glass other glass is reflective to allow those inside to see out, but not those outside to see in, returning to the idea of the observer.

Digital Model II: Protecting

The structure is divisible and analysable over three levels and contains six definitive ‘spaces’:

Basement Level: This contains the bedroom and is located below the ground level not only to increase privacy but to exhibit the idea that in order to protect, the methods used to protect should not questioned, for you will not always receive a ‘suitable’ answer.

Entry Level: The external hall is used as the spine of the building and is crucial in separating and connecting the three levels. Very little light is able to enter this elongated and oversized hall to lead to the implication of a light at the end of the tunnel. The internal space is vast and open-plan containing most of the living area, with the bathroom space set off slightly. This open space removes inhibition to any activity and reflects that nothing will stand in the way of Elias’ pursuit of justice.

Upper Level: The upper space above the external hall is the ‘empty space’ of this design with one window here Elias can keep a watchful eye on his surroundings. Fitted inside, along the walls, are not ‘mirrors’ to reflect, but ‘screens’. These screens are connected to cameras spread throughout the city. Hence the empty space becomes one of protection, providing Elias the means to protect.

Also the monoliths, which have been a common occurrence in all the designs sit here not as a guardians but as a symbol of protection, to the power and influence that the man inside holds.

PRELUDE: Character Development

Shards of pale moonlight cut their way through the intricacies of the night sky, emulated by a myriad of shadows as they wove their way into and amongst those below. This eternal dance of mimicry, of balance, of struggle, could be seen no clearer than on the face of Eliás Althusius. His right side emanated an aura of purity, enhanced further by the caress of pale moonlight which cut into the surrounding darkness with such hatred. His left side, however, was immersed in the infinite blackness. His chiselled features seemed not to be highlighted by light but by shadow. It was as if the shadow devoured all light that it came in contact with. His eyes, of the palest orange burned equally deep into both the shadow and the light. In these eyes was reflected a fervour so deep that even the most religious man would be humbled. These were the eyes that saw all.

His expression, passive as he stared vacantly into the night, showed no hint to the struggle that raged into the depths his very soul. Here stood a man torn by duty and desire. He was a man of justice. In his early 20’s he had already risen to the rank of Chief of Police in his home town of Lichtschadten. Since his return he seemed to only have done good for the town, but most remained wary of his presence, for his pursuit of justice was often lead by a more sinister means. Little was known about his past. He had lived in Lichtschadten up to the age of 8 but disappeared after the unexplained murders of his parents and sister, for which most believed him responsible, only to re-emerge out of the shadows ten years later. After his return it was not only his position that worried the townsfolk but his ability, which most believed supernatural, to avoid detection, to somehow become one with the darkness itself.

While acting as Chief of Police, Eliás often kept to himself, locked in his office from dawn ‘till dusk; obsessing; observing. His office consisted of a small room devoid of any furniture save a small desk located in the southeast corner, and even this was mainly for show. Around the desk the southern and eastern walls were covered with a haphazard assortment of paper, notes, post-its and photos; of crimes past, of crimes present and of crimes yet to come. No one man could keep track of all these crimes. Yet one did; Obsessing.

The lighting fixture had been broken for some time, the shattered bulb hung obsolete, as a monument to the unnatural light it had emitted. The only source of light now came from a thin slit window on the western wall that overlooked the entire town. It was here that the silhouette of Eliás could often be seen; Observing.

Due to his secluded lifestyle most of the work associated with his rank was left to his acting officer Jeremias Brahm who’s primary focus was to keep Eliás’, abnormalities in check and cover up what methods would be seen as un-justice. It will be said that Jeremias is the closest thing Eliás has to a friend.

This is in no way is the end, it is only the beginning...