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.