Extravagant tales of the lost city of Atlantis still exist today; entertaining mythical waterscapes and the luxurious, aqueous lifestyle of its people.

Yet none speak of its subterranean, sister city that lies beneath: an unchartered, cavernous level of Atlantis.

Oceanographers from long ago called this Neptune’s Vault - in an aftermath of violent underwater tremors, a series of oceanic auroras emerged above the vaults, shedding light down into the catacombs. Guarding the lights, are several stone obelisks bearing a menacingly, protective stature.

It is unclear what these underwater pylons represent let alone uphold. However legend has it that a small group of divers have swum beyond the obelisks and up into the light… but that is a tale for another day.

As precious as biological birth may seem, we tend to completely dismiss the psycho-physical forms of distress associated with delivering a human life.

Childbirth is a life threatening event, where both mother and child are at risk during delivery. Violent contractions inflict severe pain to mother and child putting them both in danger.

Mother’s Embrace looks to visualise the torturous ordeal of the perinatal process. The images are a series of orifices and portals replicating the psycho-physical narrative of the birth canal.

Mother’s Embrace does not look to demonize the birthing process as a whole but to speculate on the spatial horrors upon arriving into this world.

The collapse of natural resources have resulted in a cataclysmic Anthropocene.

Technological development and ingenuity have progressed within the Wall, transforming the mechanical beings into operational spaces for human inhabitation.

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This project uses a narrative based design methodology to speculate on the collapse of existing political and economic systems through a series of architectural interventions, drawing inspiration from comic culture and dystopic science fiction.

Part II of II.

The enchanted alien city R’yleh; is fabled to have entombed the great anthropoid Cthulhu. Built in measureless eons before our past, the nightmare corpse city floats adrift across the Pacific. It is said that it lies on a point in the ocean that is farthest from any landmass.

Many sailors have boasted to sail to the city, but none were actually brave enough to make an attempt. For the ones crazy enough to do so, came back dread ridden and pale faced.

They trembled about an architecture of odious shapes, of non Euclidian geometry, shifting and phasing out of sight. One of them whispered he saw the great Cthulhu himself and his hordes of ominous beings. Others claim to have heard a cult or a group of worshipers chanting an incongruous language.

Such stories were punished in many places, casting them into prisons and condemned them of insanity.

But one can only wonder if their helpless cries had a hint of truth.

Perhaps a sail is in order.

A sail to the farthest point into the ocean.

A sail to R’yleh.

Abject Geometries II is the manifestation of forms in I.

It is the manifestation of the virtual into the physical.

Production: Digital Sculpting with FDM (Fused Deposition Modeling) ABS printing.

Phase II of II.

The Passing is a continuation of Psychocity - it is a speculation on the Life after Death, where mortals are bestowed a Judgement based on their acts on Earth.

Focusing on the torment and suffering of Life, The Passing looks to portray images of dehumanisation, alienation and objectification. Although we may not be aware of them, we tend to dismiss selfish acts based off current situations and not tender its moral consequence.

Rendering them in its sincerest cruelty, these images are a visual atonement of our selfish sins.

Traditional architectural drawing is an effective communicative device used to portray conscious spaces. In contrast to Hermann Rorschach’s Rorschach Ink Blot Tests, his tests were designed to analyse a subject’s psyche through psychological interpretation.  

This is a theoretical enquiry into bestowing a secondary application to architectural representation. Current architectural conventionalities strictly pertain to traditionalist methods of representation allowing little opportunity for theoretical adjacencies to occur.

RorschArch is a series of various architectural drawings that aim to intersect the conscious nature of architectural representation with psychoanalytic ambition. This interrogation looks to hypothesise on architectural representation as a means of self-reflection and expression, encouraging it out of its conscious condition to allow for unconscious manifestation.

Abject Geometries I is an investigation of modelling repressed identities into digital viscera.

It looks to tease at our suppressed viciousness through modelling distorted, carnal organs.

Production: Digital Sculpting with wire frame rendering.

Phase I of II.

Terraformer ANA online.

Commencing DigitalLog 5 - -

Planet: Zarya-II

Sector: 7

Location: Outpost XI24

Time: 2256

Status: Healthy

Notes:

All crewmembers healthy.

All Terraformers healthy.

Photographed geotectonic formations found in Area-2C.

Nothing to report on the found geo-structures.

Terraformer ALI located a deep ravine in Area-3E which she will lead the expedition tomorrow at 0600.

No further information to report.

- - Closing DigitalLog 5.

Terraformer ANA offline.

Beneath the Realm of the Conscious,

Hidden deep within its crevasses,

A malignant, ubiquitous entity bleeds silently.

Guarded heavily by the Others,

Psychocity denies corporal entry.

Souls who have acknowledged their Other,

And have heard its cries

Are permitted to enter.

Clasp your sanity tightly,

And arm yourself with caution,

As the weak will not survive.

Let the Other’s swallow you whole,

And take heed of Their stories.

Let them guide you through and through,

As this is their realm.

This is Psychocity.

The collapse of natural resources have resulted in a cataclysmic Anthropocene.

100 years ago, humans that possessed great economic and social wealth gathered to discuss the preservation of the remaining human race in response to this catastrophe.Human morality, instinct and the rate of success for humanity’s survivability were key factors which contributed to the final decision. The result is what we now know as the walled city – Ameliora.

Ameliora is a large walled city designed and built to barricade the remainder of the human race from the ‘savages’. The Wall appears to be organised as a mechanical system, where industrial machines are perched along the interior and a rail system within the wall for transport. All mechanical beings have a designated function and are not fully inhabitable, but are known to  move around, reforming and creating new interstitial spaces along the Wall.

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Part I of II.