Ephemeral Reality – Future Dwellings in the Light of Spatial Manipulation and Simulation

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INOM

EXAMENSARBETE ARKITEKTUR, AVANCERAD NIVÅ, 30 HP

STOCKHOLM SVERIGE 2020,

Ephemeral Reality

Future Dwellings in the Light of Spatial Manipulation and Simulation

NIKLAS DIERKS

TRITA TRITA-ABE-MBT-2075 TRITA TRITA-ABE-MBT-2075

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Ephemeral Reality:

Future Dwellings in the Light of

Spatial Manipulation and Simulation

Niklas Dierks Master Thesis 2020, KTH Stockholm, School of Architecture

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Table of Contents

Ephemerality 1:

Introduction

Ephemerality 2:

Context Drawing 1:

Proposal Research 1:

Body and Rituals Drawing 2:

Cook, Eat, Sleep Drawing 3:

Bathroom Drawing 4:

Urban Space 03

04

07

08

10

12

13

15

16

17

18

20

26

29

Reference 1:

Olafur Eliasson Reference 2:

James Turrell Research 2:

Sensory Experiences Drawing 6:

Space for Simulations Appendix I:

Mid-Term Proposal Appendix II:

Selected Process 1 Appendix III:

Selected Process 2

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3 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Buckminster Fuller:

Geodesic dome, Montreal, 1967

Ephemerality 1:

Introduction

Triggered by advanced technologies, physical structures are becoming increasingly efficient and vanish from the experienced space. Even- tually, the main task of architects will shift to shaping and manipulating the atmosphere that is surrounding the dissolving physical reality of architecture. Any clear separation between interior and exterior starts to blur as every biological and metaphysical experience can be simulated in any given environment. A phenomenon accelerated by efficient communication technologies, merging the analog and digital space. Not only profane architecture will be af- fected, but also the very intimate setting of our living habitats.

The proposal of a prototypical future dwelling explores the potential to both im- plement spatial simulations and to manipulate cultural rituals in our living environments.

By communicating through the medium of post-processed pencil drawings, the project dares to predict the future relation of serving and served spaces to our body and mind.

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‚Less is More‘

The phenomenon of structural decrease within architecture has been discussed and used by architects already early on and was triggered by more efficient construction techniques. In 1921, Ludwig Mies van der Rohe proposed a re- volutionary building in the middle of Berlin. The tower‘s physical presence was merely com- municated through dissolvingly thin structural layers, enveloped by a fabric-like skin of glass.

Despite a fragile appearance, the vigorous atmosphere seems to push away the dark streets and heavy buildings of the surrounding Berlin.

Over 80 years later, architects are cre- ating spaces in which the structure seems to vanish completely from the experienced space.

The Japanese architecture office SANAA de- signed the Rolex Learning Center in Switzer- land, consisting of two floating parametric sl- abs and only a few additional slender columns - a challenge for both engineers and concrete providers. Thus, new forms of spatial relations and flexible uses were achieved. Both projects deliberately evoke the same consequence of vanishing structures: designing the experience and atmosphere within.

Ludwig Mies van der Rohe:

Hochhaus Friedrichstrasse, Berlin, 1921

SANAA:

Rolex Learning Center, Lausanne, 2010

Ephemerality 2:

Context

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5 Niklas Dierks Master Thesis, KTH Stockholm, 2020

Environmental Manipulation

In 1968, Austrian architect Hans Hollein started a theoretical discussion on ephemerality and the manipulation of our environment. As emphasized in his article ‚Everything is Archi- tecture‘, the evolution of homo Sapiens shows that mankind constantly tends to create artificial environments with increasingly efficient means. As an extreme example, the spacesuit for extravehicular activities can be interpreted as the most efficient human shelter ever invented.

Its powerful life-sustaining systems are desi- gned to maintain a mobile liveable habitat in most hostile environments of outer space.

Meanwhile, many artists have explored the manipulation of spaces through their artistic works. As an example, Icelandic-danish artist Olafur Eliasson changed the perception of the Tate Modern Turbine Tall through simulating a large exterior space and therefore influencing the behavior of visitors. A separation between interior and exterior becomes redundant as every atmospheric condition can be simulated in any given space. The redundance of physical boundaries is being further pushed by enhan- ced communication technologies, as they open up an infinite digital space, transcending every physical limitation.

Hans Hollein:

‚Alles ist Architektur‘, 1968; image: NASA Spacesuit

Olafur Eliasson:

‚The Weather Project‘, London, 2003

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Ephemeralization and Dwellings The dwelling takes on a unique position within architecture regarding function and atmosphere. A way to determine if and how ephemeralization will manipulate the perception of reality within a dwelling is to study its degree of am- biguity. Ambiguous spaces can be interpreted and perceived in different ways, they do not serve mainly one function. However, most spaces of a dwelling are strongly associated with predetermined cultural rituals and every-day habits.

I thoroughly studied functional spaces of the dwelling and came to the conclusion, that ephemeralization will not affect these spaces in terms of simulating different environments, as shown in Olafur Eliasson‘s work. Instead, predetermined rituals of functional spaces will be manipulated through ephemeralization, while keeping the original functions of the spaces.

However, the environmental simulation will still become part of the dwelling. It will appear as a new type of space and reinterpret our conven- tional understanding of a living room.

The process behind this conclusion will be discussed through research methodologies and the proposal of a future dwelling itself.

Served space:

‚regular‘ living room

Serving space:

‚regular‘ bathroom

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Overview

The layout is organized in a way many are ac- quainted with: an entrance hub, molded for various functions and guiding the inhabitant to the serving spaces (kitchen and bathroom) as well as to the served spaces (dining room, bedrooms). The largest space reveals itself as a third type: both serving and served, it provides a flexible atmospheric microclimate for the dwelling: a space for simulations. The familiar layout typology will establish an instinctive understanding of how a contemporary dwelling will differ from a future dwelling.

Structure

As the dwelling represents a prototype, the

‚neutral‘ concrete structure enables a variety of solutions for the layout. Where needed, the structure can provide load bearing and bra- cing massive walls (staircase and firewalls).

Columns provide the minimum of load-bearing elements for the rest of the dwelling. Therefore, room-dividing walls can contain a large number of technical installations. The more efficient prospective structural systems become, the more space there will be for ephemeral technologies. This refers to the idea of ‚the wall as a container‘ and was implemented by many architects throughout history. As the non-load bearing wall becomes a vessel, it can be molded for various functions, so that installations seem to be part of the wall. The function of a serving space becomes more static - technical installations are distinctive elements of the space.

Drawing 1 (DIN A2):

prototypical dwelling; original: 1:50

Drawing 1:

The Proposal

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Dialog 1:

water from the tap

Dialog 2:

open the kitchen drawer

Research 1:

Body and Rituals

Artistic-Scientific Research

To determine if a serving or served space can be used as a space for simulations, a detailed understanding of the cultural rituals and their relation to our body has to be acquired. To do so, the simplest but still crucial human operations were meticulously deconstructed. The result of this artistic-scientific research methodolo- gy is a series of collages, consisting of images, drawings, and text. Ideally, the combinations highlight the incredibly complex mechanism that our body performs in relation to physical manifestations of cultural rituals. These can be simple acts like eating with a fork or releasing water from a regular kitchen tap.

Image

The photographs reveal the deepest ‚truth‘ of a human being: the skeleton. An accumulated set of bones, performing through linking joints. In the image, the skeleton engages with a specific distinctive element of either a serving or served space.

Text

Written dialogs, abstract representations of neural processes in the brain, explain the detailed movement of a skeleton when engaging with the element of the space. Hereby, only the operations of joints are described. Parallel processes of muscle movements would add another layer of complexity.

Drawing

Line drawings are added and visually represent the process of movement explained by the text.

If necessary, mechanical movements of the objects or elements are drawn, too.

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9 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Dialog 3:

act of eating

Dialog 4:

open the door

The constructed images convey that we still perform similar mechanical operations to fulfill our primal needs, at least since the rise of homo Erectus. What changed and will change is merely the technological efficiency of the instrument to perform a cultural ritual.

As a result of our historically persistent association of functional spaces with cultural rituals corresponding to human mechanical operations, our perception becomes anchored.

Therefore it might not be possible to convin- cingly simulate functionally unrelated environments within serving and served spaces.

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Drawing 2 (DIN A2):

bedroom, dining room, kitchen; original: 1:500, 1:50, 1:25

Drawing 2:

Cook, Eat, Sleep

The Manipulation of Rituals

Although the perception of the functional space is predetermined, it can be assumed that ephemeralization will still manipulate its pre- set rituals. In a digitalized society, efficient means of communication and the exchange of knowledge are going to be fundamental parts of our lives - even more than today. This will be represented through a digital entity called

‚virtual collective intelligence‘, a powerful and seemingly infinite supply of cultural knowledge.

The three perspectives of the proposed dwelling explain the impact of the virtual collective intelligence on the rituals in the kitchen, dining room, and bedroom. In each of the rooms, the infinite digital space materializes itself within the structural void that normally would be used for glazing. An external view into the physical reality becomes irrelevant, as the virtual view becomes unobstructed and never-ending. However, a horizontal window just below the ceiling still provides a necessary sense of orientation through indirect daylight.

Virtual Collective Intelligence

Currently, the internet is a digital source of glo- bally collected information, divided into so-called ‚verified‘ and ‚non-verified‘ knowledge. As a consumer of this knowledge, we are very sensitive when it comes to believing certain information - we unconsciously reject what is not verified by specialists. However, and ironi- cally, we start to put trust in a parallel emerging system of knowledge distribution, which today is embodied by certain social media platforms. Platforms, through which we appropri- ate knowledge that was only approved by the personal experience of individuals. From a future perspective, this interactive platform might entirely replace the outdated current version of the internet. This virtual collective intelligence will become an instrument for constant optimization and therefore influence rituals in our dwelling. Eventually, it will be an integral part of residential architecture. Digital space and analog space in an inseparable symbiosis.

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11 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Drawing 2.1:

kitchen space; original: 1:25

Reprogramming of the Kitchen

The kitchen is a highly optimized space, where movements of people and the organization of objects have been thoroughly studied during the last century, initiated by the ‚Frankfurter kitchen‘ in 1926. This spatial optimization was addressed to a specific family constellation, gender, and culture, thus requesting a specific cultural identification. However, from a future perspective, the virtual collective intelligence is going to blur the perception of our cultural iden- tity through reprogramming the kitchen.

By interacting with the screens placed in-between the structural void, you choose the result you want to achieve, for instance, a highly complex dish from another culture. Next, the collective intelligence will use a perma- nently installed device to immediately project a visual instruction onto the counter: it shows the most efficient way on how to organize the surface to achieve your chosen goal. Your process but also the result will be registered by the same device and saved, evaluated, and shared as improved knowledge for other individuals.

Through this permanent interactive access to knowledge, the virtual collective intelligence will become our mind, while the individual in- habiting the space merely takes on the role of an executing biological machine.

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Drawing 3 (DIN A2):

bathroom; original: 1:500, 1:50, 1:25, 1:10

Layers of Meaning

The bathroom is considered to be the most private space of a dwelling. It is a place for revela- tion. A place where we put off all physical and non-physical layers to take care of what comes closest to our absolute truth: the flesh. We may think of it as a space of authenticity. However, when the collective intelligence will be an integral part of the dwelling, we will choose the bathroom as a medium to construct and commu- nicate what we perceive to be authentic about ourselves. We construct overlapping layers of meaning while knowing that the collective intelligence will evaluate it as the truth, based on the private and honest nature of the bathroom.

The first layer, which is furthermost in the depicted graphic, consists of the unambi- guous physical reality of the space: the volume, the materiality, and technical installations. The human being itself is also part of that layer, however only as a biological machine interacting with the functions.

The second layer is the dimension in which we start to lay a physical basis for const- ructing the perception of ourselves. Contradic- tory objects, clothes, and expressions through body language tend to disconnect from the bathroom‘s original purpose.

The third layer, represented by the dark surface, is the last layer that decides which information finally transitions into the infinite digital space. A subjective filter determining how the previous layers will be perceived from a different angle.

Drawing 3:

Bathroom

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13 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Drawing 4 (DIN A2):

urban figure; original: 1:500

Drawing 4:

Urban Space

In an ephemeral future, the dwelling will be communicating these interior processes through filtered visual displaying on the faca- de. More precisely, the processed results of manipulated interior rituals. Therefore, if seve- ral dwellings are stacked and put together side by side, a large-scale communication device emerges which has the power to affect cultural rituals of the urban space, similar to Times Square in New York City. Public spaces are pro- grammed with certain codes, as defined by so- ciologist Saskia Sassen. As an example, the un- written codes of the city determine the required physical distance between people. These un- written codes depend on specific locations in the city and times of the day.

As the staircases of the proposal are placed in between dwelling-pairs of two, the whole cluster can bend like a spine to adapt to a specific urban condition. In this case, the curved formation allows better visibility of the communicating facades from far distances as if it was a straight volume.

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Drawing 5 (DIN A2):

corridor; original: 1:500, 1:50, 1:25, 1:10

Drawing 5:

Column

Where do you want to go?

Ephemeralization will still create a space that is completely disconnected from any surrounding influence. But before stepping into this particular space, one has to interact with the dwelling‘s intelligent core, which is materi- alized in this proposal as a structural column, positioned in the hallway. The column is an architectural-technical hybrid and functions as a motherboard. Haptic interaction with the surface allows you to choose between different set- tings that can be implemented in the space for environmental simulation. The information fee- ding the motherboard is not coming from the collective intelligence. Instead, the inhabitants themselves are responsible to create and cul- tivate different profiles for each inhabitant, to establish individual custom simulations.

Excursion: Drawing by Hand

Drawing 5 represents best the intention of drawing by hand. The thought process transcends three different scales, starting with a full section and ending with a detail of an element distinctive for the space. In this drawing, the column is represented with different proportions in each scale, as a delicate proportioning of this element happened only at the end of the process. Hence, the drawing does not represent the visual execution of a finished thought, but the process itself. Furthermore, the question of how technology can be spatially integrated into architecture is being raised: in the case of this drawing, technology is already being dealt with during the proportioning of the column, instead of adding it later on. It, therefore, implies another value to technical installations of a space.

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15 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Olafur Eliasson:

‚Contact‘, Paris, 2014 Olafur Eliasson:

‚The Weather Project‘, London, 2003

Artificial Sun and Glowing Horizon The main idea of the space for simulations is to make use of analog techniques to establish simulations. Olafur Eliasson used such techniques to change interior spaces into large exterior environments: mono frequency light sources, haze machines, mirrors, and scaffol- ding. Simple means that trick our visual senses into perceiving an endless space that is not real.

Reference 1:

Olafur Eliasson

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James Turrell:

‚Apani‘, Venice, 2011 James Turrell:

‚Header‘, Hannover, 1991

Ganzfeld

American lighting artist James Turell tackled the perception of space through the ‚Ganzfeld‘

experiment. The idea of the ‚Ganzfeld‘ is the following: you establish an environment that is sealed from any disturbing external input. The observer experiences only a continuous immersive field of light without physical depth. Due to the lack of stimuli, the brain starts to fill in with information created by itself - the observer starts to mildly hallucinate. Turrell applied this experiment both in small and large scales.

Reference 2:

James Turrell

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17 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Sensory experience:

sound

Sensory experience:

scent

Sensoric Experiences

The space for simulations of the proposed dwelling will establish an altered version of

‚Ganzfeld‘. It as well rejects all external stimuli.

But instead of letting the brain itself fill in the lack of information, the machinery of the space injects a selected stimulus, added to the continuous field of light.

This injected stimulus lets you recall a combination of sensory experiences extracted from personal memories: visual and acoustic impressions, scent, or thermoception. Haptic experiences are not curated by the machinery of the space, as it would require an infinite number of objects and materials. However, the subject can decide to bring relevant furniture, object, or material sample if it enhances the experience.

The personal profiles which are curated within the motherboard contain FMRI brain scans of each inhabitant, revealing past sensory experiences that released the strongest sy- naptic reactions in their brains - the reactions that make us recall memories.

Research 2:

Memories

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Drawing 6 (DIN A2):

space for simulations; original: 1:500, 1:50, 1:25, 1:10

Coming from the hallway, you reach the space over three steps. As soon as you closed the sliding door behind you the space is entirely sealed from external stimuli and you wait for the simulation program to start. The interaction inside the space happens freely. The subject can walk, stand, sit, or lie down to experience the simulation. The space is vaguely defined through different geometries: a circular space that opens up and leads you to the immersive field of light.

The circular diagram explains the over- all process: personal brain scans feed the motherboard. The stored information gets trans- lated into soundwaves coming from speakers, or scent molecules which are stored in specific cartridges, released by haze nozzles into the space. If a specific memory was mostly visual, a screen will support the sensory experience through selected visual input. The field of light is established through light sources at the end of the space which are hidden below and above the ceiling. A circular toplight adds to another immersive experience, for instance, the blue sky, warm sun, or cold daylight. All these technological means work together and let you experience an environmental simulation, emerging from your mind.

Drawing 6:

Simulations

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19 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Drawing 6.1:

space for simulations; original: 1:25

Conclusion

Ephemeralization brings us to redefine our re- lationship with the cultural rituals of a dwelling as the separation of the body and the mind will grow stronger in the light of infinite digital space and collective intelligence. A development that I look very critically at, but believe is ine- vitable. It adds to the reason why I implemented the space for simulations: a space in which we still are entirely in control of how our mind perceives the environment.

Finally, the ever-lasting question of the private and public will become increasingly im- portant - a question which we already have to start dealing with today.

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Dwelling:

(relative) ground level

Dwelling:

entrance level (entering the dwelling from above)

Appendix I:

Mid-Term Proposal

238832 Suns

248832 dwellings are being placed within the large cavity of the Kiruna iron ore mine, expo- sed to its harsh conditions and isolated position. Circular volumes provide all dwellings with their own simulation of‚sun‘ and ‚horizon‘, blur- ring any clear definition of interior and exteri- or. Specific artificial lighting conditions in each space take a phenomenological approach on the perception of living habitats.

Site

Far north in the Swedish Lappland, the city Ki- runa arose from scratch after the mining com- pany LKAB opened a mine to extract natural resources from the local iron ore in 1900. The mining started overground and resulted in re- moving half of the mountain Kiirunavaara, for- ming a new man-made landscape. After 1962, mining began underground and today, only fifty years later, a depth of 1365 meters achieved.

The iron ore body is expected to reach 2000 meters underground, is 4000 meters long and 80−150 meters thick.

Comment:

After a long process and research in various directions, the mid- term proposal was a turning point in the thesis project. Although I had acquired a broad knowledge in atmospheric simulation, the project was rather a sculptural approach on space and the integ- ration of lighting than a convincing living habitat. The problem of

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21 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Atmospheric simulation:

‚interior‘ space (bathroom)

Atmospheric simulation:

‚exterior‘ space

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Atmosphere:

access space (top), interior spaces (bottom)

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23 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Site:

entire top-view of the mine

Site:

organization of dwelling-clusters

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Site:

large section

Dwelling:

section

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25 Niklas Dierks Master Thesis, KTH Stockholm, 2020 Structure:

cylinder

Structure:

cluster of cylinders

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Appendix II:

Selected Process 1 before the mid-term seminar^Process:

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Appendix III:

Selected Process 2 after the mid-term seminar^Process:

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Appendix IV:

Literature

Master Thesis

KTH Stockholm, School of Architecture May 2020

Titel: Ephemeral Reality Student: Niklas Dierks

ArkDes, Moderna Museet: Olafur Eliasson. Reality Machines. Koenig Books, London 2015.

A. Knopf, Alfred: Jorge Louis Borges. Ficciones. Grove Press, New York 1993.

Diller, Elizabeth; Scofidio, Ricardo: Flesh. Architectural Probes. Princeton Architectural Press, New York 1994.

Eliasson, Olafur: Experience. Phaidon Press Limited, London, New York 2019.

Frei, Hans: Was ist Architektur? Professur für Architektur und Entwurf Christian Kerez, Zurich 2012.

Govan, Michael; Y. Kim, Christine: James Turrell. A Retrospective. Prestel Verlag, München 2013.

Nylander, Ola: Bostaden som Arkitektur. Reproservice Chalmers, Göteborg 1998.

Consulted literature : photographs of the covers

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INOM

EXAMENSARBETE ARKITEKTUR, AVANCERAD NIVÅ, 30 HP

STOCKHOLM SVERIGE 2020,

Ephemeral Reality

Future Dwellings in the Light of Spatial Manipulation and Simulation

NIKLAS DIERKS

KTH

SKOLAN FÖR ARKITEKTUR OCH SAMHÄLLSBYGGNAD

TRITA TRITA-ABE-MBT-2075

www.kth.se

TRITA TRITA-ABE-MBT-2075

www.kth.se