design development document_fizaa esmail

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DESIGN DEVELOPMENT DOCUMENT

PORTFOLIO SUBMISSIONFIzaa Esmail PT Yr 3- Unit 15

Nic Clear- Simon Withers- Mike Aling

We share the external world but our experience is internal.I am inside.. I amoutside.. Cognition to explore spatial organisation, representation of our

consciousness through spatial means. When architecture stops being about thephysical space, stops being material, a mentally fabricated architecture- is this

therapy?

There is something at work in my soul which I do not understand- Captin Walton,in Frankenstein


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PROJECT 02 : SPACE TIME DLR PROCESS

SPACE TIME FILM CHRONOGRAM

EARLY THESIS IDEAPURPOSE OF DESI

PHASE 01 PHASE 03

PHASE 04

PHASE 02

SPACE TIME :PROCESS

PHASE 05

CREATING SPATIAL ENVIRONMENTS_MIND SCAPES

PHASE 06

THESIS PROCESS

PHASE 07

PROJECT 01 : CHEMICAL BROTHERS STARGUITAR CHRONOGRAM


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INTERIM PORTFOLIO

THESIS

PHASE 10PHASE 09

PHASE 11 FINAL FILM ANALYSIS

PHASE 08

FINAL FILM DRAWINGS & ANIMATIONS

PHASE 11FINAL FILM ANALYS

IMMERSING THE BODY INTOTHE ENVIRONMENT


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This Document shows the development of my work throughout the

year, It will be used for my own reference and reflection throughout

the year. The document incorporates drawings which were produced

and revised over the course of the year showing progression of

design both thematically & technically.

This document should be read in conjunction with the large format

drawings, research document & thesis produced as part of the

portfolio.


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PROJECT 01 CHEMICAL BROTHERS

PROJECT 01 CHEMICAL BROTHERS


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PHASE 01 REPRESENTING M

PHASE 01 REPRESENTING M

The drawing attempts to represent tChemical Brothers star guitarFrom slowing the film down it i s evidfilm was created with a series of stilthen repeated and layered.The strip on the right of the drawsequence repeat together with the c

Relationship of the viewer to the mocross section of the eye how our e

brain via our optic nerve, orientatinature of the images and the alteriwhat is happening within the human

The outside space moves into theoutside becomes the inside.

The Absence of bodies- The absewithin the train is deliberate , the filmstill images, the environment within& timeless there is no movement atwere taken as the train is not actualso has been created.

Time at the point of capturing thelandscape is 0.00.00.00.

The atmosphere created by the film feeling of chaotic disorientation and opposite to how still a still camera is photograph. Objects are synced withthey form the landscape.Representing motion through using Landscape in the drawing has been charcoal shadow lines & sight lines. hits the landmarks, resulting in shadlandscape as it moves through time.


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PRO

PROJ


8/117PHASE 02 SITE SURV

PHASE 02 SITE SU

CD_ PHASE 02 DLR

INITIAL SURVEY_

FIRST ATTEMPTS OF FILM

REPRESENTING TIME -SPACE


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PROJECT 02 SP

PROJECT 02 SP

SPACE TIME DLR MAPPING INITIA


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SPACE TIME DLR- MAPPING INITIA

I started with the coordinate- Maaware of ou

I am inside & then I am outside, horeaction? If my environment is unfaa conscious awareness of my curr

imbedded in my unconscious mphysical memory? Entering, depar


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PROJEC

a

i

PROJEC


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Iami

nside,

Iamo

utside

Thecultureandsocietyinwhichweliveinevitablyinfluencesthewayin

whichweexperiencethings,our

brainsbuildconnectionsbywhatwe

seewhatwelearnandwhatweleadourselvestobelieveorwhatwe

areleadtobelieve.

Itisfactualbiologic

alseeminglyconnectingtothegloba

lfactsoflocation,

time,actuality.


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How do we think we perceive space? How do

surroundings and environment? Is this connected to

culture & background, knowledge base and educatio

what of the biological human process that occurs with

everyone or is there a control of the same?

Am interested in the idea of our perception being biolo

and develop instinctively over time ,through practice

awareness of self & being able to be self aware bas

train ourselves so we have connections inbuilt within u

Being in an external reality, the factual but internally ex

Have been looking at how the brain works, the conne

at it - Like how you learn to walk , you fall down first ti

to learn it then becomes an unconscious action you do

The brain - consciousness where does it come from??

I am inside, I am outside

The culture and society in which we live inevitably

experience things, our brains build connections by

what we lead ourselves to believe or what we are

biological seemingly connecting to the global facts


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PHASE 04 INTERVIEW OUTSIDE INSIDE THEME DEVELOPMENT


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PHASE 04 INTERVIEW_ OUTSIDE_INSIDE_ THEME DEVELOPMENT

I remade a film which looks at the inside and the outside, vo

consciousness jumping from one to the other together with my own

inside the human brain how its working at a particular time the con

coordinates factual, zooming into the body and going back out agai

We share the external space but have an internal experience

Process;

After thinking of what I wanted to do i went back on the DLR retaking footage and

interviewing people on the train recording their thoughts namely asking what are you

thinking rite now.. trying to think about what was going through their minds trying to

understand what they were aware of in that moment

From my interviewing I found that people who I saw to be of english origin had comments

such as

Im not thinking of anything, Im reading my twitter, What hospital have I got to get toMy dog iv left him at home, I dont have a phone

Im thinking of where I am going.. shopping canary wharf

Followed by a questioning of what I was doing followed by their ideas of architecture in

London.. a very practical level

Others from elsewhere on the train were saying

I dont speak English very well, Im hungry

Im thinking of going away.. going to Barcelona

Should I move my bag if someone comes?

PHASE 04 INTERVIEW_ OUTSIDE_INSIDE

A larger sample would obviously need to be ta

such assumptions but could this show connecti

our society and our knowledge base, backgr

experience

CD_ PHASE 04 DLR

ANALYSIS_

OUTSIDE-INSIDE FILM,

VOICE_PEOPLE


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PHASE 05 _LO


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PHASE 05 _LO

SPACE TIMTHEME


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THEME

SPACE TIMTHEMES


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Tapping into the other space, the third space, I began from my direct response of the survey of the DLR. abstraction (mental) breaking out of it into the human th

at cognition and the brain, spatialising cognition within thi

Subjective space surrounds us like an envelope, like front and behind, of right and left are attached to it. Burgi

It is a mistake to think that a painter works on a whitethings in his head, or around him, or i n his studio. Now around him is already on the canvas, more or less virtuhe begins his work... the painter does not have to coverhave to empty it out, cl ear it, clean it (Deleuze, 2005, p61

Commuting is interesting and important for another reasin the day: an interstitial mental space between home liStarbucks talk about, and try to position themselves in,between work and home. Commuting can be a mental fo

people get some of their most sustained reading or th

daily period of introspection or of listening to music. (Lan

I gave all the final drawings titles, those which reflected othe third space.. relative to my working life subconsciousthe environments. At this time specifically a working pack

ENVIROTHE

CD_ PHASE 06 DLR

3 D VIRTUAL

ENVIRONMENTS TESTS

SPATIALREPRESENTATIONS OFDIRECT RESPONSES TODLR & THE EVERYDAY

REALITY

EMOTIONAL SPACES &

TESTS

SPACE TIMTHEME

CH


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THEME

SPACE TIMTHEMES

CH

SPACE TIMTHEME

CH


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THEME

SPACE TIMTHEMES

CH


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NEURON WORLD- INITIAL HAND DRAWIN


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NEURON WORLD INITIAL HAND DRAWIN

NEURON WORLD- INITIAL HAND DRAWIN

NEURON WORLD


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U O O

NEURON WOR

NEURON WOR


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NEURON WOR

NEURON WORLD 3


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NEURON WORLD 3

To create the 3 d

effects i further imphotoshop after and made them used depth of fiecamera through seem like a 3d wconsisted of bothfollowed by back

NEURON WORLD CREATING LIGHT SOURC


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NEURON WORLD CREATING LIGHT SOURCE

I needed a light source which would ssource needed to lightly glow- create

curves, using opacity and paths linkedmoved in after effects, key frames to cha

additional light sources in after efambience to the animation- zoom

through the space- I struggled with camesound would be used lat

EXTER


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EXTERNAL-

Have you ewondered whyin a certain pla

What is yThe eve

environmenhow you feel co

it not origingathering, b

true... what w

"Men can see image; every


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EXT


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07 SPACE

TO THEMES

EXTE

EXTERN


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EXTERN

D


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D

DISSECTING BFRO


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07 SPACE

TO THEMES

D

DPROCES


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PROCES

D

PROCES

DISSECTING BRAIN MREALITY: PROC


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DISSECTING BRAIN MREALITY: PROCE

Teefth

cosobeligwe

3d layering testing in aftereffects, all componentsimported into after effects as

photoshop layers and put into3d pace- experimenting withmasks and key frames toproduce the growing &evolution.

DISSECTING BRAIN MREALITY


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DISSECTING BRAIN M

REALITY

I wanted the light source to beinternal coming internally from theworld, I tried to use the light I hadcreated which flickered within mycomposition to amplify the depthbut it seemed too complex in how ihad created it, I went on to maskthe light to get rid of overcomplicated forms detracting from

the space but I used the light as aninternal light source reflecting offother objects.

a particle only exists in relationshipto other particles- we only thereforeexist in relationship to one another

DISSECTING BRAIN MREALITY: TRAP


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DISSECTING BRAIN MREALITY: TRAP

DISSECTING BRAIN MREALITY: AN


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07 SPACETO THEME



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07 SPACE

TO THEMES


Recent Brain imaging studies have shown the processing of realistic objects takesplace in different parts of the brain than the processing of abstract objects

Processing and the interpretation of the image are two different concepts, muchresearch has been done in the mechanisms, locations and stimuli but little oninterpretation and the neurological evolutions of our brains. Is interpretation down toevolution of what we know and are we designed to not know everything, designed toevolve counter towards understanding our interpretation, free will & that somethingelse?

NEUROVERVIEW


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Whe

imagme, g

my minbound

07 SPACETO THEMEBRAIN MEAT- SPECIFICATION-SLIDING DOOR


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07 SPACE

TO THEMESBRAIN MEAT- SPECIFICATION-SLIDING DOOR

fantasy is always opposed to reality.. reality is conceived as thatwhich is external to our inner liveswe simultaneously inhabit twodistinct and separate worlds. One is mental, private, internal. Theother is physical, public, external (Burgin)

BRAIN


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BRAIN

What liberatesbecome;where we were

we speed, where

07 SPACETO THEMEBRAIN MEAT- SPECIFICATION- JAMB DETAIL


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07 SPACE

TO THEMESBRAIN MEAT- SPECIFICATION- JAMB DETAIL

our enquiry has lead us to the heart of beingtheconcrete can only be the synthetic totality of whichconsciousness, like phenomenon only constitutesmoments. The concrete is man within the world inthat specific union of man.(Satre)

F


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F

The judgmgives you fsees whathen wha

unconsciouslmuch more b

else? Stepma

07 SPACETO THEMEFIBERS - DETAILING- CILL


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07 SPACE

TO THEMES

FIBERS- DETAILING- CILL

I pose a question, this question I can consider objectively as it matters little weather the questioner ismyself or the reader who reads my work and is questioning alongside me.. this being which we questionwe question about something. (Satre)

Does my educational background influence the way I see the world, my experiences that has resulted ina continuous questioning of what it is we know. The discipline of architecture, so vast and diverseconstantly producing and working towards a goal, a goal where there will never be enough knowledge-we will never know enough. Never reach the knowing ness. My dilemma could be based on myimmigration, where I come from, where I have been in conjunction to what I think I know of 3dimensionalspace. Am I just displaced waiting for a break through set free of confusion from my education &background trying to understand too much of consciousness and know..know..know.. why do wepose the question..


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PHASE 07 THESIS DEVELOPMENT


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PHASE 07 THESIS DEVELOPMENT

As part of the development of my thesis Iincorporated my design work to betterunderstand both the thesis and my project.These enquiries which i make about life aboutseeing, being in space, and the concreteeverydayness were all developing in thethesis. The drawings I produced were aresponse to the way in which I perceived theimaginations of space,another time space, thedaze the outbreak into the unchaos of the

world.My design project formed part of mythesis development as a result.

I soon came to realise that my thesis wasabout subjective experiences in space thethird space, the synthesis between theabstract and the real, where our most innerthoughts come into play, a process ofproduction was a chaotic floor studio space.A process that represents the chaos which isembedded within our daily lives.

I worked in a chaos of floor space studio,working with references, drawings and text.After alll human life is highly chaotic andambiguous and the elements of such life were

to be discovered further through the chaos ofmixing different methods of design,knowledge and understanding. See thesis &methodology statement.

PHASE 07_ THESIS DEVELOPMENT


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PHASE 07_ THESIS DEVELOPMENT


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NOTEBO


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NOTEBO


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PHASE 08 INTERIM PORTFOLIO ANIMATIONS & FEEDBACK


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PHASE 08 INTERIM PORTFOLIO ANIMATIONS & FEEDBACK

CD_ PHASE 08

NEURAL SCAPE_ INTERIM

PORTFOLIO ANIMATIONS

INTERIM PORTFOLIO A


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INTERIM PORTFOLIO A

N


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N

Brain tissue as a time machine- how do we evolveour neurons?

Can we immerse the body into this space- how dothe forms respond to the body & movement? How

will I bring this world to life within the city andintegrate it onto thesis research?

These are all questions which will form the nextstage of the project, both through animation ,

research and drawing.

PHASE 09 IMMERSING THE BODY INTO THEENVIRONMENT & THE MODERNPROMETHEUS


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CD_ PHASE 09

IMMERSING THE BODINTO THE ENVIRONMEN

& THE MODERNPROMETHEUS VOICE

OVER

Reflecting on the interim portfolio submission I needed to find a way to immerse thebody into the environment, as a test.

After reading Mary shelley frankenstein I found similarities in the way in which shenarrates the story through the characters and our perceptions of life and space, throughour lived.

The words in the text express the emotions withheld within the beings of both thecreature and the creator. How they perceived space is down to life as they know it asthey see it.

I related this phase of the project to our architectural education and how we as studentsof architecture and also those within the working profession suffer such battles... Ipersonally managed to connect with frankenstein, his guilt over his creation and lifechoices which led him there alienating himself from the world, he lives in anotherdimension in a love hate battle....

My internal being was in a state of insurrection and turmoil; I felt that order would thence arise,but I had no power to produce it. ( Shelley,1818,p49)

Our imaginations of what we want are what drives us but once we get there are wedissatisfied by the results, our creations, our creatures, our frankensteins, that whichhaunt us in our everyday. the ambitions and the desire to acquire knowledge, painful asit may be it is what drives us.

The need for survival but how do you break out of this chaos?

If the three dimensional constructions of space come from within the third space theinternal environment then it is placed within the body, as a way to move the projectforward i tried to incorporate the body into the environment.


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MAPPING CAMERA MOTIONTHROUGH THE FILM,UNDERSTANDING MOTION INRELATION TO NARRATIVE


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IENV


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IEN

IENVIRONMENT_


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E

I


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IEN

I


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IMEN

I


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IMEN

BODY BECOM


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BODY BECOM

IENV


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IENV


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IENV


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IMENVI

FRANKENSTE


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FRANKENST

Our bodily landscape is one of the most least understood. How can we ever understand our bodies, our minds, our consciousness and ourreality?

Tabula rasa theory of knowledge and applied it to the way the creature attained to a knowing personhood. The creature plays out the lockeantheory to perfection by gaining all of his ideas from sensation or reflection, seeking or avoiding the causes of sensation according to weatherthey produce pleasure or pain..

it is with considerable difficulty that I remember the original era of my being; all the events of that period appear confused and indistinct. Astrange multiplicity of sensations seized me , and I saw, felt, heard and smelt at the same time; and it was indeed a long time before I learnedto distinguish between the operations of my various senses. By degrees I remember a stronger light pressed upon my nerves, so that I wasobliged to shut my eyes (Shelley)

The tests and chronogram within this phase attempts to express the immersion into multiple spaces at multiple scales, a mentally fabricatedarchitecture where the body becomes the drawing and the drawing is and forms the body. I have tried to show camera movement and

progress as well as create a fluid image that expresses the project and its development.


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C


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C


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PHASE 10 THESIS


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PHASE 10 THESIS

CD_ PHASE 10

THESIS

The thesis, written from a subjective point ofview, uses myself as a reference point exploringenquiry and theory through the form of a written

narrative. A self reflective method of analysis,using myself as a subject, to uncover some truthbehind what is being investigated that which isuseful to oneself. The form of the thesis takesprecedent form the way in which we think,

structure and develop within our everyday liveslooking at the practical (formal,published _

schedule of works) which sets out theparameters, to the mental(visual images) to the

subjective or the third (the thinking andexperience_ hand written narrative reflecting ontheory & enquiry).Thinking is circular not linearand a narrative develops thinking, the final

product, a journal a personal documentcompiled through a subjective experience.

All people experience space & construct their own reali

their person, the subject I .This thesis aims to take particular subjective enquiries contained within that whicIt is the space between the practical/physical & the mLefebvre calls the social & Edward Soja refers to as

experience space). Enquiries focus on subjective issuspace making us readthe world around us and con struct our reality in a certaabout the world around us, reflecting on the differ

knowledge of the world from a subjective point of view.


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THESIS PROCESS_


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THESIS PROCESS_

THESIS PROCESS_


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THESIS PROCESS_

THESIS PROCESS_


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THESIS PROCESS_


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CD_ PHASE 11

FINAL ANIMATION

THE CONSTRUCTION OFTHE THIRD SPACE BANK-

BECKTON

&

ANIMATION TESTS &PROCESS

PHASE 11 FINAL PROJECT ANALYTICAL DRAWINGS & ANIMATION

'Commuting is interesting and important. It was a new kind of time in the day: an interstitial mental space betweenhome life and work. Commuting can be a mental form of "third place". It

can be when people get some of their most sustained reading or thinking done, their most extended daily period ofintrospection or of listening to music.' (Lanchester, 2013)

Looking at the film as taken from a subjective experience of space, mapping the landscapes contained within asubjective experience of the commute, different emotional spaces along a journey, breaking out of the chaos of thereal world into the third space where the utmost desires, dreams, and imaginatory thoughts come into play, it brings

in the elements of the outside world the space which we inhabit, what we register, but is influenced by our persona &individual daze.

A new time-space, the city can be seen through a different place the third spaces. Psychoanalysis transforms intoarchitectural expression, a mentally fabricated architecture.

'A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architecturalexpression becomes more and more urgent as all the reasons for becoming impassioned disappear.Everyone willlive in their own personal cathedral. There will be rooms more conducive to dreams than any d rug, and houseswhere one cannot help but love. Others will be irresistibly alluring to travelers. . . . 'Situationist international online

'The main activity of the inhabitants will be CONTINUOUS DRIFTING. The changing of landscapes from one hour tothe next will result in total disorientation. . . .' Situationist international online

'in seeking a way out of the spiralling orbit becomes a conceived as nothing other than a literally concrete e

space of the concrete reality of dreams, to which psycp30)

'fantasy is always opposed to reality.. reality is conceivliveswe simultaneously inhabit two distinct and sep

'internal.' The other is physical, public, ext


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A journey Bank-Beckton a capsule containing all the chaos of our lives, a space wherethinking and inner thoughts come into play_the third space. The construction of ouridentities, where the complexities and ambiguities of human life come to life.Enquiryas the central conception. This was my first chronogram I made for the film analysingspaces of the real tapping into the third space.

FINAL FILM


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FINA

The final chronograthe real world a

animations, The animof space, depth of s

focus against what waI tried to develop

FINAL FIL


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FINA

FINA


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FINA

Crit no

FINAL FI


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Crit no

FINAL FI


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FINAL

Crit no

After a large crit feedback from the tuway to communicate what was happenthe changes in the spaces, here i attemthird space against the real space to let to understand how the spaces are form

experienced by an individual they arerealities, that which occurs aro

F


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F

After making the cstructure of the final

when so I set up a tes

I used voiceover and m

F


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F

C


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F

An

-

-

-

-

-

-

-

F

I further develothe outside

colour space tospaces,depth o


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F

FINAL FILM _

Playing with depth of field


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FINAL FILM _



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FINAL FILM_

FINAL FILM _



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FINAL FILM_

FINAL FILM _



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FINAL FILM_

FINAL FILM _



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FINAL FILM_

BECKTON

FINAL FILM _

Colour Space... The spectrum


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FINAL FILM_

FINAL FILM _

Incorporating the real world into the space-to show the relationship between spaces

I used moving footage to try and show


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FINAL FILM_

I used moving footage to try and showwhere you are before entering the spaces.

Crit responses _ the real was toounaffected, i needed to edit the graphicquality, and make the film flow bettertogether with try and incorporate furtherdata.

Still need to work into spaces more andwork on camera movements..

How does one world merge into the other?

Affect everything, including voiceover.

I needed to make the film flow better andfeel better by editing text and scenes,timing it correctly and being consistent withthe introduction of texts.

It is about spatialising, always should bethinking in spatial terms.

I was still working on the response to theoutside world on the abstract world, andwas trying to do things in relationship tosound.

FINAL


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FINAL

FINAL


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FINAL FILM PRO


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FINAL FILM _PHONE F

Injury _ Tomato - Reference

The real images in my film were too unaffected I used thisreference to help me get the graphic quality of the real,merging the spaces.

Beckton- Stepping off My own amended footage

REFLECTIVE CONCLUSION

This Diploma course has been Challenging,a true life

lesson in discipline, work ethic and persistence. My Final

year at Greenwich has been very interesting and fun, the

best I have had. I have been permitted to explore my own

interests together with develop a greater understanding of

spatial concepts and incorporate my learnt knowledge &

theory into design, this has been particularly important for

me as in practice and in the past I have often found it is not

always possible to do so. One of the reasons why I chose

the year, in doing so they have built my confidence andprepared me for any future challenges which come my

way.

I have learnt a lot about myself through this process in

particular why I do have interests in people lost in space,

the disconnection between the dry concrete reality of what

we do in our everyday robotics and what we want to do,

our imaginations...really it comes down to me, my life


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REFLECTIVE CONCLUSION

to study architecture was the the vast field in which it

covers, and the effect it has on individuals to make them

feel something, taking an empty space and bringing it to

life fueled with emotion. This year I feel like this has done

itself justice by allowing me to break the limits of design

and explore extended boundaries. I feel as if the coursehas broadened my knowledge base, greatly expanded my

skill base and has prepared me further to better my

professional carer. I have confidence in my interests and

have the ability to come up with more innovative concepts,

and have a knowledge base far greater than I ever have

had.

My final project bases itself around concepts which all

interest me, the daze, the subjective experience, alienation

and displacements between worlds and within space. The

interest in the project has driven me. Although i was

challenged with getting to grips with new media I found a

way through using this to develop the drawings which i love

to do and make them spatial and bring them to life .

What is the point in doing something unless you thoroughly

enjoy it, and I have. I am particularly grateful to my final

year tutors, Nic Clear, Simon Withers & Mike Aling who

have given me flexibility in exploring more of myself,

encouraged me to do better and push the limits throughout

choice...my self... It is what makes it all so interesting, we

manage to come up with individualistic design concepts

and innovative change because we are all individuals in

ourselves, we all have our own lives and there is no limit to

how far you can go as a person and push your capabilities,

your mind or your own knowledge base, you can never

know enough or ever feel content there is too much

possibility... you could always dream of a space. I have

come to accept the ambiguity and complexity within human

life and see it as an opportunity to push my further

development and career...it is what colors our lives.

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Being an Insider-Outsider in Qualitative

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Qualitative Methods , 8 (1) p 55-63.

E R (1996) T l ti f D i

Ja

Un

Sy

Pr

J


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Architectura

AOC, Muff, 0
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