Possible Scenarios is an ongoing exercise of documenting and celebrating a transforming relationship between materials, people and place, through an investigative and experimental process of making functional structures, shelters and creatures. Possible Scenarios projects to operate as a service focusing on construction, welcoming a collaborative process of fabrication and conversation.
Does the building need fixing? Who must one reach out to to know? Is there a framework where students can be directly aware of what type of care is required for each building upon arrival to Hooke?
Hooke is a place to experiment and speculate, many of the buildings sitting on the forest’s soil have stories and ideas that have never made it to the final build, let alone on paper.
This document speculates a scenario specific to the Field- station in hopes to carry on a tradition for future students to relay information about the perpetual nature of an unfinished project.
Directly engaging each generation of Hooke with the buildings that surround them will mean spending more time on the land that will nurture them for at least a year.
Understand and feel the place you live in.
Videodrome’s protruding arm from the television pushed us to firstly to experiment plaster with elastic materials and iterations to manipulate.
Process is just as important as the final result. We found it crucial to be able to document and follow the evolution of the material in time. Knowing how the plaster reacted and comparing its behavior with other materials then gave us a better understanding on how to manipulate the product on a bigger scale.
Lending itself once more to Videodrome, we envisioned the Device: a space for reverie to provide a moment of trance.
To result in an immersive experience, a backrest and simple structure were built.
As exchange students under different circumstances from the ones in our respectful architecture schools, we found ourselves living a lifestyle based on consumerism. Throughout our stay, we had gathered wrappers, cans, bottles, etc; anything that we found ourselves consuming on a daily basis. Our idea was simple: with a couple of weeks left before departure, document the process of the products’ decay in time, a way to remember the unique experience in Shanghai.
It wasn’t as easy as imagined. After a couple of days, all there was left to be found was the wooden structure by the building’s rooftop trash, with all mementos of our stay gone. With less than a week left, giving it another try resulted in placing the Archive of Affinities higher up, the elevator shaft’s rooftop.
We had found, at least, in the process of wandering around the city, more items to use to complete the installation. Gathering the remaining food from our refrigerators resulted in a new interpretation of the Archive of Affinities while still keeping the essence of consumerism.
Disneyland is one of the most intriguing places in this world. Meant to represent an enclave of dreams for both children and adults, it also portrays a certain craft within the architectural scene as most works demonstrate a certain sculptural charm. Finding Dory is sever- al things, but is primarily a criticism to the awaited perfection and staticity of project presentations at school. This project in concept is meant to be an iteration to a Finding Dory ride in Disneyland Shanghai.
With the same materials always recurring in school models, this project sought to prioritize craft, light and sound to provide an immersive experience for the viewers. By sculpting what would be the ride’s vehicle, the process of handcraft was rediscovered.
Housing Lucy & László highlights the subjective beauty of an object both in process and as a result. These are the first iterations of a series of plant pots. They aim to recycle and upcycle found objects, namely those found in the studio spaces of architecture school. Housing Lucy & László’s goal is to highlights the potential of all used materials and how they can be combined together both as formwork and falsework and transformed into another functional object.
LNFtOS is the result of a personal discourse relating to archaeological excavations and the holiness of death. 2017 marks the last excavational work conducted within Medellin’s -Spain- castle, previously and solely over the 80s. It had been abruptly abandoned after finding the 82nd grave, partly due to the use of the castle’s soil as the villa’s cemetery from 1883 until the late 1950s.
On one extremity, LNFtOS aims to conduct excavations while providing temporary pods to exhibit the fortification’s findings as well as workshops and temporary installations revolving around the topics of history, archaeology and death. Gradually descending and reaching into the Chamber leads the users to Blob [1] hosting the Immersive Elevator piercing through the depths of the fortification’s soil.
On the other extremity are the transported remains from the excavations, ultimately within Blob [2] being the Funnel containing the castle’s gathered soil in time, and a memorial comprising a series of Cubic Caskets that will also create its own artificial landscape as they pile up through the years.
LNFtOS essentially operates on the two extremities of the sensorial journey from the Castle’s high hill towards its pinnacle underwater in the Charca. Through its architecture, it explores the dualities of their programs both originally lying in the fortification.
As the only wavy artifact in the collection of LNFtOS, the Blob [1] attempts to operate as a visual element interacting with the rest. Seemingly massive in the distance, users are given a haptic exposure through the Uncanny Platform followed by a visual revelation of the light nature of the Blob [1] considered as an ornamental skin surrounding the Immersive Elevator when reaching the end of the Chamber.
As the only wavy artifact in the collection of LNFtOS, the Blob [1] attempts to operate as a visual element interacting with the rest. Seemingly massive in the distance, users are given a haptic exposure through the Uncanny Platform followed by a visual revelation of the light nature of the Blob [1] considered as an ornamental skin surrounding the Immersive Elevator when reaching the end of the Chamber.
Soil lingers throughout LNFtOS, either as an aggregate for Earth-Cement Concrete for the Cubic Caskets and Blob [2] for the Charca Experience, or simply in its raw form. The true nature of the Blob [2]’s massiveness is to satisfy its role as an anchored artifact in the water containing the raw soil transported from the Castle’s excavations. Culminating the whole intervention, users -after appreciating the accumulated soil while gradually getting surrounded by water and Cubic Caskets- enter a tall, dark, cold space surrounded by soil and water with an opening at its tip being the only source of light, the Funnel. A strange metaphor or simulation of an approaching death.
Emphasizing the slow progression into the soil, once arriving towards the Castle’s fortifications, the users first enter the Doppelganger entrance tower, mimicking the existing tower, adapted to LNFtOS’s materiality. Once exited, the haptic passage over the fortification gives an instant overlook of the program and architecture that awaits the entire Castle Experience. Each Pod serves as a visual breakage into the gradual lowering with slow ramps firstly reaching the Uncanny Platform, providing the first view towards the Charca Experience and LNFtOS as a whole. Still slowly lowering through the remaining Pods, the users then reach the Chamber, a dimly lit tunnel with the obscure conclusion resulting into the Immersive Elevator piercing the users into Medellin’s hill.
As a long and progressively widening path, the memorial is firstly experienced after exiting the highway tunnel. Slowly approaching, users will then understand the scale of the Cubic Caskets, evenly separated by one another through an adopted grid. As the dominant pathway breaking into three distinct sub-experiences, the central platform reaches the Blob [2], acting as a humble artifact of the excavations originating from the Castle, a container filled in time with soil. In parallel, the peripheral pathways gradually lower into the water, resulting either into the Funnel -a contemplative space submerged in soil with a hole peeking to the sky- or breaking the straight line of LNFtOS to experience a claustrophobic meandering underneath the Cubic Caskets, casting and referencing every remain found in the conducted excavations from within the Castle.
LNFtOS is more than a mere speculative intervention. Essentially, it could be thought of through its ghostly nature, attempted to be represented or even felt through the models’ choice of materials, the haptic touch in the selection of papers and finally the textures in its digital drawings.
LNFtOS is also an expression of time and process that not only operates within the intervention but in its own scale of the thesis.
The bunker is the source of gameisalreadyset. Challenging our initial proposal of a stage performance -the spatial questioning-, on one hand, had led to rethinking the original intentions. In parallel, the intangible characteristics of the bunker contain a particular dynamic with GASSS’ cultural background. gameisalreadyset is the combination of both reflections, a gamelike interactive immersive experience revolving around the theme of alienated identity where the audience is given the possibility to meander through the space as the performance(s) take place. One could consider the characters as fictional, another could observe them as real, or even both. Open ended, gameisalreadyset’s story operates in the realms of dreams with fluctuating interpretations on the nature, origins and outcomes of each character expressed through several levels of intensities within analog and digital mediums of sound, sculpture, movement and light.
Initially meant to be physical encounter in the format of a gamelike interactive immersive experience, its current output is reflected as an experimental film. Though the essential base of the performance has already fulfilled its unique transient purpose, gameisalreadyset’s aftermath remains to be appreciated as an entropic runthrough
Merely Artificial is a site specific installation within a larger on-going project in collaboration with several artists with dance backgrounds seeking to explore other creative fields such as digital visualization, sculpture and sound. What was initially intended to be a stage performance quickly transformed into an interactive project by further exploiting our chosen space, a historical bunker, consisting of a series of textured narrow corridors and culminating in a larger volume where Merely Artificial will be carefully placed.
The Magic Map served as our graphic tool to explore the dimensions of the journey namely sound, light, movement and the simulated intensities the audience would experience.
Meant to be a representation of time through the melting wax dripping onto the floor, the slight variations in the aluminum’s geometry then reveal themselves. Merely Artificial lends itself to the immersive experience’s theme about alienated identity.
A wooden formwork, four aluminum bars, two buckets and a pot are needed for one sculpture. They are then cleaned and reused for the remaining sixteen.
Traces of Ufer aims to operate within the 3 axes of the Berlin loft through proposing a functional piece of sculpture. The massive spruce attempts to come in contrast with the intricacy of laser cut aluminum and milled birch. An honest proposal as an introduction to the process of machine fabrication, focusing particularly on proportions and geometry. As a result, a surface to leave valuables upon arrival along with mobile trolleys housing either silverware for dining or beverages for the living area.
Applying structure as ornament, the construction process is meant to be visually understood by exposing all elements. Supporting all four sides of the milled birch plates are a series of 4mm laser cut aluminum sheets riveted together, adding a hint of roughness through the imperfections when hammering.
A 13th century cave was discovered at the basement of a residential block. We took advantage of the situation and created an event for the lack of nightlife in the small town of Segovia, where we studied. The idea was to make a site specific installation to accompany the music for the whole event along with video projections on the textured walls.
Other areas of the space were animated with LED lighting.
Uncommon Ground draws inspiration from David Cronenberg’s Videodrome television scene. An interactive installation combining image, light and reflection.
Unfortunately, we aren’t always understood by others. With great effort of insulating the space from ‘sound pollution’, the event got shut down by the police after 20min. A collective record.
