“Village” and “North” explore the idea of supernatural through digital photography, collage and 3D rendering. Within these animated gif images the focus is on the use of strict geometric and synthetic form to contrast against the interior space or the landscape in which they are manifested; a comparison of languages.
The “Village” is a highly warm and intimate place; an archetypical home. It is a composition of belongings and memories. Within this rather natural setting, an aggressive alien body is captured. This is a test to understand the digitalization of our surroundings through very basic use of geometry and reflection and the native tools of contemporary digital design that we use to create meaning and manipulation in architecture.
The natural landscape of the “North” can be seen as the most ancient of symbolic languages. It is the original set of symbols that was created to communicate; the original data. Focusing on the landscape and the modern language, the aim is to investigate our navigation between the real and the unreal and how it affects our perception of the world around us all socially, emotionally and physically.
Architecture communicates the possibility for observers of recognizing themselves as complete with the notion of life and death within the Day of the Dead Society. This recognition is not merely one of semantic equivalence, rather it occurs in experience of the space.
While the visitors journey through the building, they encounter various stages hosting micro performances. Each stage waits to be activated with the presence of the audience.
The kinetic hermeneutic surface device has the ability to shape the space as well as to cover or expose what is there. It allows a manipulation of the performance and interaction. It is the processes of distortion, originating from morphing by strings and lights. Its operational function is revelatory. The ongoing transitions between contraction and dilation allows a change in visual porosity. As a reactive surface to environment, it can be provoked and intesified in its actions. Experience is multifold and relies on the interpretation.
As in the Dante’s Divine Comedy, the visitors start their journey from underground and find their way upwards. On the way up, they encounter several micro-performances within the void of one solid fly tower. Like the individual street performances during the Day of the Dead celebrations, these plays also merge to create a landscape of multifold representations that is informing the overall layout of the building as a vertical street.
Day of the Dead is devoted to the faithful souls. It is a cheerful event that embraces the death and the prolongation of life. Mexicans live together with the idea of death. It is a national symbol that embodies the colonial experience of the country. The society is simultaneously European and other. And the spaces created here present this simultaneity. Aztec and Catholic cultures are interwoven.
Day of the Dead is a playful eleboration of the death, where the urban space is animated by individual creations. Altars, personal manifestation spaces and street performances are bound together into a complex texture of a national celebration. The medium varies, so does the message. The attendants enact their own utopia/dystopia. They create countersites where the dead and the living confront each other.
The Day of the Dead Society welcomes the visitors willing to experience the duality of life and death.
It is a space of represetation, where the world is organized through the semantic constructions. It connects the underworld to heaven and the space inbetween becomes as meaningful as both of them. It is a cultural comfort zone that is shaped according to different belifs and supersititons about death.
It is a twofold theatre complex, which provides an independent ground to develop, practice and publicize personal plays. The stages are the reflections of two contrasting views:
1. Theatre of the Death, is an underground, marginal and melancholic space that represents the modern image towards the ‘cult’ of the death.
2. Theatre of the Life, is the place, where the life is the mirror of death. It stands in for the afterlife of fortunate souls that finally meet their god in heaven. It celebrates and welcomes the death like medieval catholic societies.
The visitors are expected to experience both spaces through a series of interactive micro-performances and obtain their own understanding about Mexican culture, life and death.
This is the second phase of the Responsive Tower interaction project. The design is refined into a kinetic cloud, that moves along a central pillar in accordance with different perception and communication levels. The appearance of the cloud is cyclical; it becomes visible/ invisible when the traffic movement starts and stops. The magnitude of the cloud is again defined by the volume of the surrounding vehicle population.
This is the initial proposal for the vacant space within the roundabout at the Old Street, London. The project aims to be an intervention according to the semiotic features of the site, as well as to the provocative relationships between the architecture and the occupants – in this case the deficiency of it.
This project acts responsively to the dynamics of the site, such as the traffic cycle and the pedestrian flow, in order to transform the void into a space amplifier. The speechless traffic island becomes an ambiguous communication node, signalling with smoke and light.
Design is regarded as a powerful tool for transforming cities to global status. This has largely focused on the commissioning of few iconic buildings. However, such development needs to be supported by emphasizing practical urban requirements, social and environmental responsibilities and function over the image. Selected project is an ecological research and development park which aims to correspond the needs of this novel industry and also serves as a educational facility to raise the public awareness.