This Dimension Corrupt

Defines architecture as a set of spatial and formal conditions defined by curves, the primary adjective of form; and planes, the limiting interference of space, that is corruption.

LOCATION
Garrison, New York

PROGRAM
Gallery

YEAR
2016

CLIENT
The Russel Wright Design Center

STATUS
Study

2D Drawing via Robot Arm

“An unspeakable horror seized me. There was a darkness; then a dizzy, sickening sensation of sight that was not like seeing; I saw a LINE that was no LINE; SPACE that was not SPACE; LIGHT that was not LIGHT. I was myself, and not myself. When I found my voice, I shrieked aloud in agony, either this is madness or hell. It is neither.”

* Adaptation of Flatland: A Romance of Many Dimensions by Edwin A. Abbott

Pixels — Bytes — Qubytes

Questioning the conventional notion that architecture is the spatial congruence of lines as definers of space, T.D.C. seeks to establish a new, perhaps sickening spatial sensation by evolving limited yet specific interference into a new modality for architectural expression; corruption, as fundamental understanding of space.

Derived first in a graphic series of digital image manipulation, the intrinsic nature of lossy image compression was exploited to create 2D corruption fragments. By isolating specific fragments and selectively translating them to 3D form, corruption is formalized into three isolated yet related categories: pixels, the 2D graphic surface application of corruption; bytes, the 3D extrusion of corruption profiles; and qubytes, the superposition of the two. It is the interplay of these elements that form the foundation for a corrupt architectural expression. This expression exists as an application, not a generator. That is, an operation to be performed on an object, not a practice that conceives intrinsically. As such, the massing of this architecture was carried out as a separate exercise exploring ideas of vertical orientation through curiously, strange relationships. 

Multi–Dimensional Corruption

Once a mass was established and the relationship between its spaces programmed, a series of multidimensional corruption was carried out in aims to redefine what was expected in the architecture’s spatial and temporal physicality and formal language. It is here where I stumbled upon This Dimension Corrupt; an architecture that was not as it seemed.

A Space In Which Light Is Not Light.

Glowing streaks embedded in the building and running through the landscape seem to be illuminated by some artificial source embedded deep within, oscillating between flat graphics coatings and 3 dimensional elements.

A Form In Which Lines Are Not Lines.

Curves defining the found object are corrupted, eventually redefining what we read as the skin and the structure.

An Architecture Where Space Is Not Space.

Qubytes that penetrate the building physically define gallery spaces. While at times, also extending infinitely into the unknown.

— In Sum —

This Dimension Corrupt acts as a portal to a new found knowledge of architectural expression by blurring the line between physical and virtual space.

According to psychologist, our cognitive understanding of the external world materializes in a series of high and low resolution representations that are rationalized and characterized by our senses. Essentially, the world is so complex and multi-layered that a total knowledge of it is impossible, so humans unconsciously categorize things respective to their immediate importance.

Inherently static, architecture falls into low resolution characterization. Its expression is often certain and dull; an  author of ignorance. This project does not claim that glitch architecture is the best way forward. Rather, the polemic is for a new form of architectural expression that calls itself to attention because, by its definition, it strays away from what is expected, allowing one’s senses to refocus on what they are continuously, yet unexpectedly, confronted with.

Juan José Saer defines the “unknown as an abstraction and the known as a desert.” This Dimension Corrupt lies somewhere in between. Something that is half-known and half-seen for this is the perfect breeding ground for desire and hallucination.

Credits

category. Academic, Building

project team. Andrew Matia

where. PennDesign Foundation 501

critic. Danielle Willems

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