https://www.esdesignportfolio.org/projects daily 0.75 2019-07-04 https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538311868289-P4ZLE0USJ2DCI0C7RWEH/2018.09.30+-+Digitally+Moulded+Intervention.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561571568798-0XSTM83QO7KUEWARM4G2/Site+Diagram.jpg MArch Projects - Taprobana ‘The Fountains of Paradise’ by Arthur C Clarke set a scene for rapid urbanisation in a remote, semi-fictional, equatorial island of Taprobane with a tower like structure acting as a space elevator transporting cargo and people to and from a station located 36,000 km above sea level. The tower is located at the summit of a sacred mountain which places the historical area at risk, but provides crucial breakthrough for scientific discovery, space exploration and a solution to world resource crisis. Taprobane is set in Sri Lanka with the site being the area surrounding Sigiriya in Matale district. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561572177075-M7GOLCYZI1K87J9LWSKJ/Site+Explanation.jpg MArch Projects - Site Timeline and Influences Sri Lanka is home to a mixture of religions, cultures and backgrounds. Complex history, numerous conflicts and constant shifts in political power left the island torn, but also created conditions for hybrid culture development. Looking at the religious history of Sri Lanka, especially related to Sigiriya, a clear, very vigorous connection to Buddhism can be discovered. It can be argued that Buddhism is the base of Sri Lankan culture. To ensure further development of the island without excessive damage to communities a masterplan proposal needs to merge all-culture, religion and scientific ambition. Doing so requires thorough research in the heritage of Sri Lanka to inform various parts of the built environment as well as to guide decision making process. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561572407763-90VPCW7MMDCZ11D1F9J7/Ashtamangala.jpg MArch Projects - Ashtamangala The Ashtamangala are a sacred suite of Eight Auspicious Signs endemic to a number of Indian religions such as Hinduism, Jainism, and Buddhism. The symbols or “symbolic attributes” are yidam and teaching tools. Not only do these attributes point to qualities of enlightened mindset, but they are the investiture that ornaments these enlightened “qualities”. Many cultural enumerations and variations of the Ashtamangala are extant. Through Ashtamangala the cultural boundaries and religious differences disintegrate and the future city of Sigiriya becomes a gateway to unexplored utopian future. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561572611383-6WQOZE3Y1ZHQNUDWCF6Q/The+Noble+Eightfold+Path.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561573064805-I9YL81W2Y0YD9U0YNMYL/Buddhism.jpg MArch Projects - Tropical Modernism and Righteous Path https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561573309852-TDMCKGXSINAE6HMVO7JY/Plan+2030.jpg MArch Projects - Plan 2030 ‘I will take action to develop our country as a five-fold centre by using its unique geographical location, and connecting west and east by Navigation, Aviation, Trade and Commerce, Energy and Knowledge.’ _ Mahinda Chintana The National Physical Plan was approved in 2007 to implement the goals identified by Mahinda Chintana. This plan consists of projects set up to be finalised by 2030. Starting by means of transportation and improving links with India finishing with agricultural development. There are also projects set up for disaster management and reforestation. The main aspects of the plan affecting the area are: new highway network connecting metro cities and other regional towns, preservation of conservation areas, rehabilitation of irrigation network and ‘cultural reneissance’ programme for towns and rural areas. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561573457244-7P1GFPVS7TRZU69DGI9U/UNESCO.jpg MArch Projects - UNESCO In 1989, Central Cultural Fund assigned Urban Development Authority prepared a comprehensive regional plan for the conservation and development of Sigiriyan hinterland (fig 16). 9400 hectares were assigned to protection under UDA law with main principles of: ‘conserve and develop Sigiriya and other significant archaeological sites; preserve the natural heritage; conserve traditional system; rehabilitate minor irrigation tanks; relocate settlements and townships; develop new townships to ease development pressure in the immediate vicinity of Sigiriya proper; and develop domestic and foreign tourism infrastructure with necessary guidelines https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561573589024-S97P4REYRG2QFUDU9U7F/University+Campus.jpg MArch Projects - University Campus Aquiring Ashtamangal as the grid for proposed city establishes the importance of intervention on site. It helps develop a meaningful urban strategy whilst preserving and respecting the roots of the island. One of the key strategies is set out at this stage: to advance through preservation. New city grid distinguishes 7 clusters and finishes with the space elevator as the last bridge to the outer space. Each of the 7 elements will be designed to suit a university development that will research elements from the space and synthesise the findings to the wider public. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313622805-ARESI32E5O9T3FOBSSL7/18.04.16+Portfolio+p.+4.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313754248-L5KZYNUMUDW6JOQYCCUE/18.04.16+Portfolio+p.+16.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313757670-VBXBKSM5GBLGE46UHUZX/18.04.16+Portfolio+p.+17.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561573819229-IZM8XS819JDQCGWCRXFN/Building+Site.jpg MArch Projects - D.I.R.T. Site Boulder Gardens is the ‘second level’ of the Sigiriya Complex. The rock formation is a contrast to symmetrical layout of the Water Gardens. The ruins of Boulder Gardens pre-date King Kasyapa’s reign, they were originally built by monks. Prominent features of building on and around the boulders are the indentations on a number of the rocks. They were carved to support brick and wooden post structures. The ‘cave’ has been a monk’s dwelling long before Kasyapa. Faint traces of female figures can be found painted on the walls of this part of Sigiriya, similarly to the frescoes on the main Sigiriya rock. As the nature of the chosen post-graduate centre site dictates breaking the symmetry and using the environment as a structural element, the design decisions have to be based on the relationship between building and natural elements. As for Deraniyagala Cave, this is the centre point constant on site that cannot be tampered with and following UNESCO site preservation policies has to be carefully worked around. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561573968871-A3D2HZ6X2YM1YXTOXVDY/Site+Conditions.jpg MArch Projects - Site Conditions One of the main reasons I chose to develop my project in the Boulder Garden is protection of existing views. Trees in this area reach around 35-40 meter height with boulders scattered around the perimeter. Tree tops would be used as height constraint and boulders as integral part of the scheme to maintain and highlight the cultural aspect of Sigiriya while developing the site. Existing elements on site will set not only building design precedent but will also influence programmatic experience as the garden suggests separation and bridging. A lack of ground space and preservation approach also suggest elevating the building to achieve more generous circulation space. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561574084674-5SOZRRAECW89YL5SA2SV/Response+to+Site.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561574824385-F904660Y7H72NLR942HD/Levels.jpg MArch Projects - 3D Printing 3D printing as a fabrication method in building industry means speed, precision, possible fabrication error reduction to minimum and efficiency in material usage. In order to understand the process better and later on develop building fabrication technique on a building scale, I decided to do my early design iteration prints in 3 different 3D printing methods. To test the massing and levels (top) I used plastic printer. It is the cheapest method of 3D printing, but the quality of it is the poorest too. In order to print required model which had parts hovering above ground, the printer had to build support material which was easily removable. Second 3D printing method used was powder bed printing (middle). This method offers almost no limitations in design intricacies apart from wall thickness. There is no need for extra support material as the print is glued from powder particles layered one on top of another. The biggest disadvantage of powder printing is brittleness-once printed it needs to be solidified with an external agent. Last and the most expensive printing method-printing in resin (bottom) seemed to be the most complicated of all. Even though it offers the smoothest finish, in order to create required shape out of liquid, printer builds huge nest of support material. Lasers projected into resin solidify it and the model is then placed into a bath of a solution to be cured. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561574878937-CRPXKAQVKAFKFMV93T25/Fluidity.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561574937799-9XKPUHIJNQKV22ABS72I/Porousness_2.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561575139609-R2R8OGYG8WG3B2X7C8UL/Programme.jpg MArch Projects - Programme Building programme directly depends on the structural elements-as light building facade contrasts with heavy 3d printed columns and slab, both envelop or house very different areas. The programmatic breakdown shows location for every element of the programme where spaces with required high environmental controls are placed at a lower level pulled into the building to prevent overheating from harsh Sri Lankan climate. It also emphasises the more open, fluid areas at a higher level to allow more light and transparency inside. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561575211042-3LDZAI47S8A7BBAAXTMD/Structure.jpg MArch Projects - Structure This structural arrangement and contrasting building elements also help the building blend into the surrounding area while merging cultural heritage with scientific influences. The building becomes a hybrid paying tribute to the history of Sri Lanka while emphasising human ambition of scientific discovery. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561575449647-P0FDUTBLNRWDXLHZSUX3/Overall.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313930969-MHHA1JHX8T9762N4ECYQ/18.04.16+Portfolio+p.+32.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313930196-UBKNFRLGVXMEGVKIFET7/18.04.16+Portfolio+p.+33.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313951028-9B10OMZFXH26T3CM1FKY/18.04.16+Portfolio+p.+34.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313961527-7X8IMQXJ795SGHTS0KF5/18.04.16+Portfolio+p.+35.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313987366-K5AN9N7Q3O7KSPEN9DMD/18.04.16+Portfolio+p.+36.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538313996113-SYW2WLN22I155N682LDX/18.04.16+Portfolio+p.+37.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314025936-DFVKUG1M60O09FBG2WAV/18.04.16+Portfolio+p.+38.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314005607-QR9YRMPPRHX6D50TLKSO/18.04.16+Portfolio+p.+39.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314024722-1RTLFV9YKHCECIKI0GFY/18.04.16+Portfolio+p.+41.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314015878-52JZ6YIN9TSQN8H9XBPZ/18.04.16+Portfolio+p.+40.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314065808-62ZN8WE0C35ET2BLYV91/18.04.16+Portfolio+p.+42.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314117777-MDHEPXHGF5K65ZXVM4T8/18.04.16+Portfolio+p.+44.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314123740-2H7CX9QVX9D16EN1H3TW/18.04.16+Portfolio+p.+45.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1538314093065-R0VFCDF3IHGT59OUEXJR/18.04.16+Portfolio+p.+43.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561569931370-54PU9BT99UE2P8D982LN/The+Architectural+Axonometry+of+Benten-jima MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561658167245-X355J3B3LD5TFZPBY0AT/Disorder+of+Consumerism.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561658279809-EOXB4BEGLP1HFHR25QGQ/Typology+of+Mind.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1561658554080-XAQZ8I4MVF8X1VPUFO7B/Pain+in+Consciousness.png MArch Projects - Pain in Consciousness ‘Pain is an unpleasant and emotionally arousing sensory experience that invades our consciousness. The perception of acute pain is an adaptive response that signals the presence of damaging and life-threatening events (e.g. traumatic injury, a potentially injurious environment and infection).’ (Diatchenko et al., 2007). Biologically pain is crucial in order to understand and avoid life-threatening circumstances. Sense of pain improves human awareness and understanding of the surroundings. The inevitability of pain is accepted as the necessary in order to develop and excel. Without failures there is no success or achievement. The awareness of pain as the main catalyst for evolution does not reduce the fear or make it easier to consciously accept and utilise painful experiences. Above diagram depicts Frauenkirche church in Dresden as four elements: the ghost of the past (pre WW2 bombing), the ruins after the bombing, the outline of the rebuilt structure as it was pre war and the ‘stage’ of painful events. But all that is hidden behind, the history and suffering of the building is in no way represented architecturally. It did not inform or ‘teach’ architecture. Can architecture be humanised and become the actor in painful scenarios: change, adapt, improve? https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562259055333-NNWD9WRGV2LBZP46YAF8/Pathophysiology+of+Pain.png MArch Projects - Pathophysiology of Pain The diagram above aims to decipher the complexity of causes of pain, the different experiences and categories of it. Breaking down the core causes and effects of painful experiences helps to understand how pain could be used as a development method for architecture to be more relatable. Understanding how pain helps people develop and learn can be then used as a catalyst for architecture that reflects humanity and be more human. *Pathophysiology or physiopathology is a convergence of pathology with physiology. Pathology is the medical discipline that describes conditions typically observed during a disease state, whereas physiology is the biological discipline that describes processes or mechanisms operating within an organism. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562259404470-SMJVWKB5P0XINEMJGIIX/Francisco+de+Goya.png MArch Projects - Art and Suffering Francisco Goya’s ‘The Black Paintings’ were a collection of fourteen episodes painted on his house walls. At the later years of his life, Goya painted these on his private home walls without intentions to sell, write or ever talk about them. Battling unknown disease his whole life artist lived the last ones in isolation and faced the fears of loosing his battle head on. Francisco Goya claimed that he used the illness to produce more insightful, personal and informal work. The painting analysed above, clearly encompasses anxiety as Goya personifies himself with the son. This self reflection is as though the Greek myth Titan Kronus is Goya’s misdiagnosed disease that is slowly devouring him whole. It could be speculated that Francisco Goya was at a mental and physical despair as he understood that he was loosing his battle and was close to death. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562259639905-6181X44GGMN7UZ6Z0QJ7/Salvador+Dali.png MArch Projects - Art and Suffering ‘The fact that I myself, at the moment of painting, do not understand my own pictures, does not mean that these pictures have no meaning; on the contrary, their meaning is so profound, complex, coherent, and involuntary that it escapes the most simple analysis of logical intuition’ _Dali Salvador Dali was personally affected by the Spanish Civil War (1936-1939): his house was destroyed, one of close friends executed and his sister was imprisoned and tortured. Elements of the drawing suggest contradicting feelings/emotions. Both in ecstasy and in agony, the creature self consumes (a lot like war and Dali’s internal struggles). Beans in the painting possibly represent the people of Spain and their needs during war time-the only item in its true form. Salvador was forced to believe that he was his older brother’s (who passed at 21 moths of age) reincarnation, struggled bonding with his father which eventually led to shame and guilt often hidden in his work. Lack of self esteem manifested as need to differentiate himself and seek for validation. Psychological pain and constant denial of internal struggle turned into Narcissistic Personality Disorder (expectancy of excessive admiration and grandiose performances). https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562259891862-GEA3K8SJO3FFJ87R4MRR/Frida+Kahlo.png MArch Projects - Art and Suffering Frida was an exception when it came to visualising pain. She was a martyr to those suffering chronic pain due to her meticulous ability to portray the intangible feeling of suffering. ‘The Broken Column’ shows the time after Frida’s operation performed in order to fix the effects of traffic accident that she experienced at the age of eighteen. For this painting Kahlo used the influence of her catholic upbringing and drew inspiration from II Sodoma’s Martyrdom of Saint Sebastian (tied to a tree, used as an archery target). One of the few paintings where Frida pictured herself alone (most of the other paintings had either animals or other humans in them), emphasises the loneliness and isolation. The helplessness and anger towards uncontrollable events that forced Frida into the brace and wheelchair. In ‘The Broken Column’, the brace held not just her damaged spine together, but also her essence. It enabled Kahlo to keep painting. Frida Kahlo is an example of how chronic pain (fig. 4) produced almost unbearable physical existence as well as frustration due to the subordination of self to the pain. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562260084892-UJL012FVN3MEWWE4QVY2/Francis+Bacon_1.png MArch Projects - Art and Suffering The complexity of categories and types of pain interconnect and manifest in Francis Bacon’s ‘Three Studies for Figures at the Base of a Crucifixion’. The painting, inspired by Picasso’s triptych, started Bacon’s career. Recognised as depiction of horrors of WWII, a lot of the elements in Francis’s work show personal experiences and sorrows of very troubled young life. Complicated health conditions at a young age (asthma), constant hatred from father, realised homosexuality, rape and abuse by the grooms working in father’s stables (ordered by the father), eventually complete rejection by sending Francis to live with father’s acquaintance,- all and more are symbolised in the painting. This portrait of WWII through self reflection emphasises how strong and important pain is not just to those experiencing it, but also to those observing. The grotesque triptych draws eye to analyse and look for true meaning behind each detail. ‘Peter Lacey’s power over Francis, sadistic power,- and I hope it won’t shock people - was a very positive one’ John Richardson (BBC documentary ‘Francis Bacon: A Brush with Violence’) on first true Francis’ love and the horrible abuse Bacon encountered and encouraged. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562260201767-B2QQP7ZM8O8CF4NJSDMP/Francis+Bacon_2.png MArch Projects - Art and Suffering The decision to revisit 1944 triptych in 1988, emphasises the fact that both of these paintings are heavily inspired by Francis Bacon’s own experiences and feelings. The later version depicts same three scenes in a slightly lighter, maybe more ignorant (not so affected/reactive) manner. It is as though Francis found himself and learnt to live with those demons of the past. Mature and more controlled painting style defines each scene in the same softness, without previously emphasised anger and violence through brush strokes. The shift between these paintings embody the importance of allowing painful experiences to manifest in our immediate environment in order to acknowledge the necessary steps towards the ‘brighter tomorrow’. As categorised in the diagram (fig. 4), all the alterations in Francis’ sensory function (pain) caused all three: motivational (depression and anxiety), sensory (intensity and quality of pain) and cognitive (cause and significance of pain) types of pain. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562260359648-WT3SE56GN5LBM68R41J1/Marina+Abramovic.png MArch Projects - Art and Suffering Marina’s experiments and performances alongside her view in life involve facing the pain and failure and inviting it into her life in order to improve, change herself for the better. Pursuit of this personal change and heightened consciousness result in most shocking and eye opening confrontations with human subconsciousness. Marina Abramović reverses the pain diagram (fig. 1) by starting with analysing and understanding her own and the society’s fears and uses art to help herself and her audience to break down the barriers built up by society, politics, consumerism, technology, etc. To be free, you must embrace the pain and failure. The artist emphasises how important space is in all her performance acts. As the main focus is usually to strip down to the core human emotions and face the possible pain and fears, the spaces comes as a third (after audience and Marina herself) member. The one that can affect the performance itself. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562260494431-2J69BS00449RARIKH1A1/Stelarc.png MArch Projects - Art and Suffering Stelarc sees his body as an object for redesigning. The body is seen as evolutionary architecture. A tool and the product at the same time. During the performance, hooks become a part of the body’s structure. Pain for Stelarc is a medium to draw awareness to his perception of evolutionary human possibilities. He states that his body does not seek for ‘transcendental strategies’, it looses all stereotypes, labels and genders-suspended it becomes revolutionary architecture. Pain enables architecture of human body to utilise elements and merge with them. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562260578411-BOJV1BC04C2OJBT01NLZ/Pain+as+Creative+Power.png MArch Projects - Pain as Creative Power Diagram above summarises and connects various artists through the types of pain they all experienced and the pain they depicted in their art. Diagram also shows the influences each of them had on one another. Every artist enabled the next through what was the hardest experiences for them individually. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562260812234-4M4ACNFUDU7TU0TM338I/Articulating+through+Apparatus.png MArch Projects - "The Sound Machine" Theme of obsession, instability, fear and dedication play in Roald Dahl’s ‘The Sound Machine’. The collage above diagrams the duality of the nature revealed through a sound machine in Dahl’s novel. The sound machine was built by Klausner with only one real aim - to hear what is impossible to hear with human ear. The existence of humanly incomprehensible is not in question. Successful result (Klausner hears the painful screams of the flowers being cut by the neighbour), destabilises him and forces to question the boundaries of what is and is not alive. It highlights the limits of human consciousness. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562261026742-FEETOU5M0Z9GMYK40LO5/Pillar+for+Pleasure+and+Pain.png MArch Projects - "399 Days" Currently on display in V&A Museum, Rachel Kneebone’s 399 Days, a five meter tall column structured from porcelain tiles decorated in human legs and shrubs, offers a glimpse into a world that questions boundaries between feelings and built (sculptured) environment. Interwoven self-multiplying legs extruded from porcelain tiles appear to respond to each other in harmony. The piece appears to be unfinished as it does not fully connect and large cracks appeared at the bottom of it. The artist, on the other hand, claims that every imperfection completes the sculptural column ‘to be as it should be’. Sculpture exists somewhere in between architecture and sculpture, fluidity and solidity, conscious and subconscious. The movement through the constantly twisting limbs breaks the rigidity of the piece. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562261206468-IJSF1G8PK4TB65FSRX2R/Physical+Model+Strategy_1.png MArch Projects - Physical Model: Part 1 ‘The Box of Layers’: Earlier diagrammed church in Dresden here interpreted as an ‘archive’ of historical events. Layered to focus onto the centre and perforated walls to emphasise the fragility of church essence. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562261333880-FXVTYEZ12DGE9O71MEXI/Physical+Model+Strategy_2.png MArch Projects - Physical Model: Part 2 The support of the model is a stylised chest of drawers - a symbol of secrets behind all the painful happenings as per Dalí’s ‘Soft Construction with Boiled Beans’. The chest ‘grows’ out of human spine vertebrical columns as reminder of WWII. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562261466371-296YIIKUQJB74MF49ERD/Physical+Model+Strategy_3.png MArch Projects - Physical Model: Part 3 The ‘wings’ of the model are inspired by Stelarc’s body lines. The perforations create a new strata (nest) as grounds for other elements. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562261616202-BJO98HHA2KNCQLMY3JKL/Physical+Model+Strategy_4.png MArch Projects - Physical Model: Part 4 The cladding tiles of the model are inspired by Maggi Hambling’s drawings and sculptures. The interwoven lines as layers and complexity of conscious and unconscious emotions/ experiences evoked by different types of pain. Nails piercing through the tiles, like in Frida’s ‘The Broken Column’ symbolise events in life that are inevitable and leave scars. It is what we as people decide to hide from but if these happenings were visible, they would manifest themselves all over our bodies. The same applies to architecture. Manifestation of painful experiences is a responsibility that built environment holds in order to be more relatable and more human. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562261744147-4RMR4R5FVH36Q5MOEP7Y/Physical+Model_Frauenkirche.png MArch Projects - Physical Model of Frauenkirche https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562261904941-FNFGAXV57P28RA5MWMMG/Free+of+Architectural+Design.png MArch Projects - Free of Architectural Design ‘I think that many of the supertall buildings being built in New York City are virtually free of architectural design – they are just tall boxes covered in selected glass curtain wall products’ _Mark Gage, 2015 Gage’s proposal contemplates the relationship between the design and the user: how to make it more than just floor-space in the sky but also something beautiful and hopefully more meaningful to them and the city. His proposal features four enormous cantilevered balconies, supported by concrete carved wings that extend outwards from the structure’s exterior. According to the architect, each of the apartments in the building will also have its own unique sculptural exterior, designed to “frame particular features of the surrounding urban and natural landscapes”. The proposal focuses on the impact in has on the user and how it responds to the user more than being able to provide more rooms within. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562262088119-A6V94JQINRXLSSZRCZ9O/Hylozoism.png MArch Projects - Constrains and Sensations I Hylozoism https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562262190637-U29Z3FXU0M9HZDHCULRS/The+Consequences+of+Pain.png MArch Projects - The Consequences of Pain A completely safe house, formed by the requirements of fear and by the pressure exerted on its frame by the landscape it contains. It is equipped with Protective Devices, Sensors, Early Warning Systems, Lawn Furniture, and, of course, Decoys. It has multiple redundancies and back-ups. There is no way in and no way out. The remnants of the Safe House are currently limited to some of its devices that have survived the passage of time. This examples highlights how architecture can ‘feel’ and reflect human emotions. Mark West highlights the negative consequences of pain and not being able to learn/utilise it for self improvements. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562262312885-4OGRQ1JW0U9ROMJD42V3/Collage+of+Influences.png MArch Projects - Collage of Influences The collage above combines acquired ideas on how to ‘imprint’ a sense into architecture and bridge the connection between ‘the user’ and ‘the design’. Turning architecture into an equally emphatic and sensitive ‘being’. Organic, hurting, atmospheric and shifting. All of these feelings/states through pain analysis and learning how tackling, understanding and analysing pain could be key to designing relatable spaces. So architecture becomes an important ‘actor’ in our lives adapting and managing our development processes. Mirrored because there is always an underlying cause, a subconscious to the conscious that is equally as important. Just as pain is as important to human/space development as happiness is. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562262431650-6ZJKDMDN1V66B4STXZO8/Kami+no+michi.png MArch Projects - Kami-no-michi Kami, shin, or, archaically, jin is defined in English as ‘god’, ‘spirit’, or ‘spiritual essence’-all of which mean ‘the energy generating a thing’. Since in Japanese there is no distinction between singular and plural, kami refers to the divinity, or sacred essence, that manifests in multiple forms. Nature of kami is possessed by rocks, trees, rivers, animals, places and even people. Kami and people exist within the same world and share interrelated complexity. Kami refers to the power of phenomena that inspire a sense of wonder and awe in the sacred, testifying the divinity of such a phenomenon. It can be compared to Rudolf Otto’s ‘mysterium tremendum et fascinans’ (fearful and fascinating mystery). ‘The literature of religious experience abounds in references to the pains and terrors overwhelming those who have come, too suddenly, face to face with some manifestation of the mysterium tremendum. In theological language, this fear is due to the in-compatibility between man’s egotism and the divine purity, between man’s self-aggravated separateness and the infinity of God.’ _Aldous Huxley, ‘The Doors of Perception’ (1954) The kami reside in all things. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562262572355-OH3YJ43BVK0EOQENSX5Y/Architecture+is+Alive.png MArch Projects - Architecture is Alive Every life is nested within a greater unit of life which is nested within a larger unit of life-ad infinitum. A cell, an entity, is a unit of consciousness. The magnitude of consciousness is unfathomable, but it is there. Everything are cells within cells. From esoteric point of view-humanity is one entity. Which is a unit within a vaster entity: the planetary logos (entity that ensouls the entire planet). Kingdoms of nature are just the out-picturing of layers of planetary logos consciousness. The human kingdom plays a role of throat chakra of this entity. All human consciousness is a vibration to planetary logos entity, which too is an entity within a vaster entity-solar logos. Entity that ensouls the whole solar system and to which planets represent its chakras. Solar logos is an entity within cosmic entity that embraces seven stars in our local cosmos. The sun is the heart chakra to the cosmic entity. And so on. Every unit is influenced by the thoughts of that larger it is contained by. Those larger unit thoughts are experienced by the lesser unit as laws or principles of living. The consciousness of one shares in the consciousness of the other. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562262807654-GLKINC1VVX0X9WRH3ALU/Thresholds.png MArch Projects - Thresholds https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562263048194-3A48VACLY0UGKB4QAX6G/A+Step+through+Mirror.png MArch Projects - Visual Interpretation: A Step through Mirror https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562263181162-ETF351KXVLEMQCTE9C82/Reflection+of+Pain.png MArch Projects - Visual Interpretation: Reflection of Pain https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562263079613-9RGA2HICGI53BDUMDQK0/Opening+Up+to+Pain.png MArch Projects - Visual Interpretation: Opening Up to Pain https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562263349010-AXRH1FPTA7CX9WJ56E5E/The+World+within.png MArch Projects - Visual Interpretation: The World Within https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562263858949-6OW02QTGX2FT4JASIC0P/A+Shrine+to+Suffering.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562264272833-KQVZNPATDZ3KXDSD0T52/Tohoku+Earthquake+and+Tsunami.png MArch Projects - Tohoku Earthquake and Tsunami The 2011 earthquake off the Pacific coast of Tōhoku was a magnitude 9.0–9.1 (Mw) undersea megathrust earthquake off the coast of Japan that occurred at 14:46 JST on Friday 11 March 2011, with the epicentre approximately 70 kilometres east of the Oshika Peninsula of Tōhoku and the hypocenter at an underwater depth of approximately 29 kilometers. It was the most powerful earthquake ever recorded in Japan, and the fourth most powerful earthquake in the world since modern record-keeping began in 1900. The earthquake triggered powerful tsunami waves that reached heights of up to 40.5 metres. The latest report from the Japanese National Police Agency report confirms 15,896 deaths, 6,157 injured, and 2,537 people missing across twenty prefectures, and a report from 2015 indicated 228,863 people were still living away from their home in either temporary housing or due to permanent relocation. A report by the National Police Agency of Japan on September 10, 2018 listed; 121,778 buildings “total collapsed”, with a further 280,926 buildings “half collapsed”, and another 699,180 buildings “partially damaged”. When Japan was hit by the Great East Japan Earthquake in March 2011, Matsui was in her studio working on a painting. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562263879559-KYFWE56BG53GBT71DM2Y/Fuyuko+Matsui_1.png MArch Projects - "Becoming Friends with All the Children in the World" From late 2011 to early 2012, Fuyuko Matsui had her first major retrospective at a large public museum. “Becoming Friends with All the Children in the World”, held at the Yokohama Museum of Art, included art from her entire career as well as new works. Matsui has been making her works based on her psychoanalysis result, putting heavy weight on her feelings and interests in violence, experience of loss, repression, stress, and trauma. Through the process of self-investigation, she found her works universal to all living beings—life and death, sex, self-love, self-mutilation, self and the other, this world and the next, desire and passions. Fuyuko Matsui obtained her Doctoral Degree (PhD) in Japanese Painting with her doctoral dissertation “The Inescapable Awakening to Pain, through Visual Perception via the Sensory Nerves”. Her work is highly sensitive, violent and self-contradictory. However, when conveyed through a clear-cut classical format, her personal trauma is sublimated into something universal. Her paintings can certainly be described as feminist, but – like Goya and the Chapman brothers – they also deal with death. “Japanese culture has become too clean. Our five senses are too blunt,” says artist Fuyuko Matsui in a recent interview at the Yokohama Museum of Art. “I think Japan needs some fear to stimulate the sense of pain.” https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562264444305-Y2K7N1IFT8WZ7WQKY5TE/Benten-jima+is+Alive.png MArch Projects - Benten-jima is Alive Benten-jima is a small deserted island northwest of Cape Sōya, Wakkanai, Hokkaidō, Japan. It is the northernmost piece of land under Japanese control. Benten-jima is 0.005 square kilometres in area, its perimeter is roughly 0.5 kilometres, and its highest point is 20 metres above sea level. It is named after Benzaiten, once enshrined on the island. The wildlife includes many seabirds, Steller sea lions, kombu kelp, and sea urchins. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562264584586-K4B89M4IH99G8XUAHOJ4/Benten+and+The+Dragon.png MArch Projects - Benten and The Dragon Benten, also called Benzaiten, in Japanese mythology, one of the Shichi-fuku-jin (Seven Gods of Luck). Benzaiten is a Japanese Goddess who is known to be the goddess of beauty, reason, wisdom, and wealth. Along with this, she is also the goddess of music, arts, and dance. She grants wishes and prayers not only for wealth and prosperity but for inspiration, talent, love, and romance also. Her popularity has grown significantly because she is the patron deity of those who are in the arts – geishas, writers, dancers, singers, and more. Other than these, she is also believed to be a water goddess which is why she is also believed to be a protector of different islands in the country. Also, this is the reason why many of the shrines and temples dedicated to her are located near the sea. She is believed to have powers that can purify a man’s mind from the darkness and evil of materialism in the world. Because she is a water god, she has become known to be the goddess of anything that flows – not just water. She is the goddess of reason – words, language, speech, and eloquence. She is also the goddess of continuous knowledge. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562264738776-MNCPY71R1A7L1PX6ZAU3/Vitality+in+Decay.png MArch Projects - Vitality in Decay ‘Keeping Up the Pureness’, (2004): The woman has slit open her stomach to flaunt her uterus. The flowers that swirl around her are also displaying their female parts, as though attuned to this act. Her face conveys pride and satisfaction because she has carried it out herself. The work also addresses men with a possible desire to commit rape. The pain that she has passively accepted to date as a woman – the pain of being a victim, as well as the pain associated with the fear of retaliation either against the perpetrator or, at times, against herself – is now the driving force behind her power and strength. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562264881408-F3CR2I04E9X9OCJDV415/Traditional+Shinto+Arrangement.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562265058249-CJ9PKCX5ZS0X34PG0N7T/Pain+to+Awaken.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562340446348-39XXWR22OELWHS1NA7VD/Elements+that+Informed+the+Design.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562341490927-ZPI4W0AB0N8TSE3UX3UK/The+Shrine+is+In+Pain_compressed.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562341576242-NDRP5XYXXD5NHEO58G9H/The+Shrine+is+Alive_Sando.png MArch Projects - The Shrine is Alive: Sando A sandō is the road approaching a Shinto shrine. Its point of origin is usually straddled in the first case by a Shinto torii. The interlocking flame (tomoe) open the heart of the island from three directions. Path extends into all three sides. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562341680092-2F500J4JDZ4B7ZXFBBK0/The+Shrine+is+Alive_Torii.png MArch Projects - The Shrine is Alive: Torii A torii is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred. Staircase opens the site up; shrine is one with Benten-jima. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562341869636-9LDAAR1TC984W5XT0YNG/The+Shrine+is+Alive_Toro.png MArch Projects - The Shrine is Alive: Tōrō Tōrō (light basket, light tower) is a traditional lantern made of stone, wood, or metal. The lanterns guide in the journey towards kami. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562342531290-5MII3MPOYQ4A4W2JB6BY/The+Shrine+is+Alive_Ema.png MArch Projects - The Shrine is Alive: Ema Ema are small wooden plaques in which Shinto worshippers write prayers or wishes. The deity of the shrine speaks through ema; pure heart manifests in prayers. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562343886187-BG11EQJBWYOPFSTIKD6B/The+Shrine+is+Alive_Temizuya.png MArch Projects - The Shrine is Alive: Temizuya A temizuya is a Shinto water ablution pavilion for a ceremonial purification rite. The well purifies by filtering the water of the ocean; it activates the senses of the island. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562344957247-WRL4MACWRPBS05QLQMOX/The+Shrine+is+Alive_Komainu.png MArch Projects - The Shrine is Alive: Komainu Komainu are statue pairs of lion-like creatures guarding the entrance to the honden. The guardians mark the beginning and the end. They filter the last impurities. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562345166343-DCJFNLNPPICKN06LE8ZI/The+Shrine+is+Alive_Tamagaki.png MArch Projects - The Shrine is Alive: Torii A tamagaki is a fence surrounding a Japanese Shinto shrine, a sacred area or an imperial palace. The fence around the sanctuary establishes a new, vertical, axis. That way protecting and altering the journey and experience of the shrine. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562345346264-62UTCX5DDPKTCLUMMZH1/The+Shrine+is+Alive_Haiden.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562346269776-0MOYVIGTHAHMCT64H8OT/The+Shrine+is+Alive_Honden.png MArch Projects - The Shrine is Alive: Honden The honden (main hall) is the most sacred building at a Shinto shrine, intended purely for the use of the enshrined kami, symbolized by a mirror. The Sanctuary, placed within the island, houses the mirror, kami. Below the floor of honden, kami is safe and hidden. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562346554920-9R0ZVYLJLZ2M3UNBNXN4/The+Shrine+is+Conscious.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562346672728-YF5ZRI8DS9ZJYP5XWE9G/The+Shrine+is+Conscious_Hylozoist+Monastery+of+Benten-jima.png MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562346786474-F20EADVGRGY159F7HTC9/The+Shrine+is+Conscious_The+Growing+Shield.png MArch Projects - The Growing Shield The gate of Benten-jima sets roots deep in the island’s walls and shields the shrine. Mimicking the organic contours of the site, the transparent skin envelops and expands accommodating ever-growing architecture of the island. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562346992927-B4GH21LRQ0QYA7O5ECT2/The+Shrine+is+Conscious_The+Growing+Shield+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347135782-YGHWV8UMKUY2VB0C84Q4/The+Shrine+is+Conscious_The+Sacred+Approach.png MArch Projects - The Sacred Approach The path follows tomoe (3 interlocking flames) and dissects the island into 3 separate parts: shrine, private and communal spaces. Each step is designed to reduce the amount of pressure the island and the architecture experience: the soft center tissue of the stair acts as a cushion and compresses whilst the skin of the step tenses up. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347219373-Q6CXLUGCN4JC2Q0IRFU3/The+Shrine+is+Conscious_The+Sacred+Approach+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347287020-QLWG38ULKZTAMQLLLKK0/The+Shrine+is+Conscious_The+Purification+Fountain.png MArch Projects - The Purification Fountain The fountain filters ocean water and washes away sins. The connection with the ocean is emphasised; the monastery grows from Tsunami of 2011 tragedy reconnecting with the source of pain. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347579732-40PV3BNLBVL4R3O3G1MA/The+Shrine+is+Conscious_The+Purification+Fountain+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347660143-A88XYNIBVBYNN1N6ZNHN/The+Shrine+is+Conscious_The+Hylozoist+Brocade.png MArch Projects - The Hylozoist Brocade The lanterns hang low beside the path. They grow from the spines of the gate that stretch the skin across the better part of the island. Once mature the blooming lanterns releases the bulbs from its’ shell extending the light further into the depths of Benten-jima. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347768591-T3H53UFJBBG41OOJ81WB/The+Shrine+is+Conscious_The+Hylozoist+Brocade+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347829364-562AYH043N6UIUSHML1R/The+Shrine+is+Conscious_The+Wishing+Veil.png MArch Projects - The Wishing Veil Similarly to lanterns, the ropes of wishes spiral down alongside the path towards the spirit, kami of the island. Wishes multiply as an embodiment of prayers. They whisper deepest and darkest desires and regrets; they establish a dialogue between the island and its architecture. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562347975088-0MS8AHDGFDJXHACHH748/The+Shrine+is+Conscious_The+Wishing+Veil+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348014007-1F8ORYGORYIUWXXVLMPT/The+Shrine+is+Conscious_The+Panoptical+Oratory.png MArch Projects - The Panoptical Oratory The oratory at the very top of the monastery opens a 360 degree view and allows the prayers to spread. Oratory is the beacon of Benten-jima. It marks the vertical worship axis of the island. Down from the oratory into the soul and source. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348087297-OONWTM5JUV83MF2MF7ZL/The+Shrine+is+Conscious_The+Panoptical+Oratory+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348138117-D7E7LVUH4OT492XSVDE7/The+Shrine+is+Conscious_The+Sentient+Erratic.png MArch Projects - The Sentient Erratic* *a rock or boulder that differs from the surrounding rock and is believed to have been brought from a distance by glacial action. The fence is the spine of the monastery. It connects the heart and soul of the island to everything else. From the path following the steps up and only then through the core of the fence down into the kami. The fence grows and mimics the surroundings. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348213562-BST4I7TRAJ1VU67BPHWN/The+Shrine+is+Conscious_The+Sentient+Erratic+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348292122-6H6NQJI2D9NQZHHYP2ES/The+Shrine+is+Conscious_Confession+Chambers.png MArch Projects - Confession Chambers Confession chambers stack up by the inner east wall of the island. Confession happens separately from the shrine experience and each of the chambers is designed to adapt and control the impact on the island and its architecture. Soft floors suspend the seats and paths. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348389193-TGGD1GMTZBS6980S62JG/The+Shrine+is+Conscious_Confession+Chambers+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348431963-QT60CS0WSR6NPZUXXS4F/The+Shrine+is+Conscious_Reading+Gallery.png MArch Projects - Reading Gallery The reading gallery holds the knowledge and experience of Benten-jima. The library expands with each visitor, adapts to the surroundings and imprints the experiences of the island. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348519572-7GEOF5TZK8K7PW5HP9KT/The+Shrine+is+Conscious_Reading+Gallery+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348590576-8Z7WT3ZNCTUM07OTPHQR/The+Shrine+is+Conscious_Solitude+Cells.png MArch Projects - Solitude Cells Each of the rooms hold essential facilities for stay-over with bed suspended off the wall to reduce pressure from the flow, the path suspended on rubber joints and soft floor, bath hung off the ceiling and window opening up the room onto the ocean. Every room is connected with one another with a nest of pipes https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348718157-68OYAIEEQJICXH2NQCUR/The+Shrine+is+Conscious_Solitude+Cells+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348764374-JIW9GKBIDU74YA07RRDA/The+Shrine+is+Conscious_Rejuvenation+Hall.png MArch Projects - Rejuvenation Hall The Rejuvenation Hall connects every table to the ocean. Each one of them filter the ocean water and provide fresh drinking water. The food is cooked in the ovens that are fired by the heat of the depths of Benten-jima. https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348848414-PWSX1IKUU8PIKM4341AP/The+Shrine+is+Conscious_Rejuvenation+Hall+Visual.jpg MArch Projects https://images.squarespace-cdn.com/content/v1/5badebd8a09a7e4eb37635d1/1562348941805-ZJH1164R1BIH1Y7S4ADM/The+Shrine+is+Conscious_The+Benten-jima+Pendulum.png MArch Projects - The Benten-jima Pendulum The soul of the island hangs over the pool of consciousness. It is the source of the island’s consciousness and the heart of the architecture. The pendulum anchors the island and the monastery. The waves of the tsunami and the pain that it caused is the movement of the pendulum causing it shift and change and grow. The source of the island, part of the kami, is the mirror pool of consciousness. The threshold of the island which opens up endless shrines and souls and holds all the pain of The Great Tohoku earthquake and tsunami. 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