Assignment 3:THE WOODEN HORSE

The HIVE

Rather than simply deigning a home for my character within a society I began thinking of the type of world that my character would inhabit. His vision for utopia. This led me to begin thinking what my character wanted most and that which he saw most important. JUSTICE.I undertook a study of various social typologies and functions trying to establish which would fit with my character until I stumbled across Retributivism in a book about Deontological ethics by J Feinberg;This idealism fits perfectly with my character and so I began thinking more rationally about a ‘colony’ that could fit this structure.The idea of The Hive came about after realising that in order to achieve a strong society of retributvism a dictatorship must be established, with one impartial controlling hand (my character) deciding the fate of the wrongdoer. This in turn led to the analogy of insect monarchy. Hence the naming THE HIVE.

1. The Controllers: The pinnacle of the hives hierarchy.
2.The Overseers: Observe everything and anything. They are the ‘big brother’ of the society.

Due to their obsessive nature they are extremely introverted.
3. The Workers: The workers are just that; workers. It is they who ‘built the world and keep it

spinning’ but oblivious to all they have achieved. Usually unnoticed and common.
4. The Drones: Mindless beings designed to obey commands and ensure order. Put simply they

are enforcers.

Each of the 'classes' have been incorporated into different parts of the design.
The Drones are represented by the 4 monolithic pillars which have been a trademark to my characters designs since Assignment 1.

The Workers are represented by the exposed structural framework. This gives the design a more industrious aesthetic which fits well with the transitional phase that Brompton is currently undergoing.

The Overseers are represented by the cautious layout of the house. The subterranean structure houses the private areas (Bedrooms, bathroom) ground level is mainly and entry and active level (Laundry, WC, transitional space) the 2nd level is the main living area (Dining, Kitchen and Living) while the rooftop contains the 'rooftop garden'.

Finally the Controllers are represented by the represented by the use of windows/glass. Most of the windows are set above 1800mm allowing light to penetrate without the inhibition of vision. This is contrasted by the large glass stairwell which consists of mirrored glass allowing only those inside to see out. Being on the north-western face means that this would require some sort of external shading.

The PRESENTATION

By restraining the use of colour to red with various changes in 'alpha' I hoped to draw the atteniton not to the design AND to the spaces between. The scheme also expressive of my characters ideals and temprements. The world is not, in the view of my character, black, white and GREY; but it is black, white and RED.

The CONTEXT

The relationship between my design and neighboring designs is dominated by the flaws of my character and his relationship with others. My character is introverted and so is my design. Andrews and Ednas characters are detached from my design by large external walls. simmilarly with the external 'world' but a glass pane allows a glimpse into the private world my character. Gavin's Silent Jurors, however, have an intergrated relationship and shared open space, this is due to the characters relationship, police chief and jury, and similarities in their temprements.

The UNREAL
I chose to leave images of the unreal model out of the presentation because it is something that needs to be experienced rather than viewed. The unreal model is an expression of the dynamics in lighting and lines that are possible with the exposed framework.

UNREAL world 2

Heres my Final UNREAL model with textures and lighting. I left the spaces empty because i couldnt get any decent static mesh imports for toilets etc to work with the lighting.

The UNREAL world.

The basic model in unreal. I still have 2 detail, texture and light most of it.

Final Renders

Heres some final renders before i start on the Ureal model this weekend.

ASSIGNMENT 3: Early Devleopment

ASSIGNMENT 2: Mystery Play

LAYOUT LAYOUT LAYOUT LAYOUT

I continued with the four themes of my characters personality; Suppressing Obsessing Observing and Protecting.

Suppressing: The internal space is divided into three sections an open living space, bathroom/wet area and bedroom which is located 3 ‘floors’ below the ground The entire western façade comprised of glazing held together by a repetitive beam element, not dissimilar to a cage or bones. This is to represent the fragility of suppression. This façade is the main light source and constantly exposes those within the living environment. The wet area is located slightly off the main living space and provides a degree of privacy while the bedroom is located 3 levels below the ground. This represents the deep part of subconscious in which Elias retreats in the dark hours of the night and the struggle Elias must undergo each day to return to the real world.

Obsessing: To further develop the idea of obsessing I removed all the distractions [other spaces] leaving only the hallways. This emphasizes journey rather than habitation and clearly reflects the nature of obsession. Their design is a conglomeration of hallways that extend above, below and around the other structures. These halls also act as a link between two of the other three designs [Suppressing remains detached]. Several of the paths enclose spaces which house the facilities required for a functional living environment. The hallways are void of any furnishings and are rendered internally with a mirror-like substance to literally reflect the obsessive nature of the occupant and add a maze-like confusion to the halls.

Observing: In representing observing a tower seemed the most suitable choice, allowing unobstructed views over the surrounding area. Thin ribbon windows located at head height that envelope the frame and allow a constant view to the ‘outside’ world from any position in the structure. All glass is reflective to allow those inside to see out, but not those outside to see in, returning to the nature of the observer.

Protecting: The only part of the structure that is above ground is an external hall which acts as the spine of the structure, extending below the ground and dissecting the area below, creating three distinct areas in semi-open plan. However, very little natural light is allowed to enter the structure due to a required separation from the external world. It is secluded enough for Elias to undertake his often questionable methods of protection, without the inhibition others. This reflects that nothing will stand in the way of Elias’ pursuit of justice.


Technology and Nature:
TECHNOLOGY
Inside each structure there is room that contains a screen and on this screen is displayed a series of images transmitted from the town. Surveillance images. It is here that Elias controls the world around him, playing the hand of god. But whether this technology is used for good or evil is up to the user.

NATURE
The four pillars in each corner are memorial stones for each family member Elias has lost. They stand not only as a memorial to their deaths but as a reminder to the vengeance that Elias must undertake against all those who oppose justice. His life, his purpose, his nature

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...