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SHINKENCHIKU RESIDENTIAL DESIGN COMPETITION - Loop House
SHINKENCHIKU RESIDENTIAL DESIGN COMPETITION - Loop House
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SHINKENCHIKU RESIDENTIAL DESIGN COMPETITION - Loop House
Type
A residence or a place for living, in general terms, is about shelter, about relative comfort and about a physical experience. Inhabitants move from one space to another to fulfill a task or action. They are not necessarily affected by, or paying attention to the in-between spaces or their location in a global context.
This proposal is about exploring the theoretical aspect of the way we could live, and introducing the phenomenology through narrativists and storytelling. It explores the possible link between the virtual and the actual.
In both books and movies there is always one or multiple plots. A plot is usually linear and is made up of three things, a beginning, a middle and an end. Although these come in many guises a plot is always evident in one form or another.
Looking at the genetics of a video game however, this notion of plot can be completely irrelevant or purposefully vague.
The popularity of video games has now surpassed that of movies, and become one of the largest product revenue raisers in the world. They have continued to evolve and increase in complexity to the point where real life and cyber space are often blurred.
This gives us opportunity for exploration between human need and human desire.
This proposal endeavors to explore the complexity behind the video game and link it to the common spaces of a residence. It attempts to transport itself, and people, to places not normally accessible, and systematically link them with qualities of an endlessly entertaining experience and journey.
Each program forms its own endless loop, which at specific points interacts with the loop of another. The planning complexity is evident not only where these circulation paths cross, but with options occurring within the in-between spaces. As with a video game these circulation zones work together offering an epic unpredictable atmosphere with freedom of choice. There is never a designated end point, or a specific path to get somewhere, generating an environment made up of imagined narratives.
Along with the options for circulation, one can choose their preference of such things as weather, time, or a completely new, and instantly engrossing setting. People can’t help but find the possibility of transportation, in a video game, enthralling and addictive. It provides a myriad of choice and a variety of unexpected encounters. It is a simple human instinct and desire to be transported to another place, to another time, and to experience the things thought to be most out of their reach.
This proposal is about exploring the theoretical aspect of the way we could live, and introducing the phenomenology through narrativists and storytelling. It explores the possible link between the virtual and the actual.
In both books and movies there is always one or multiple plots. A plot is usually linear and is made up of three things, a beginning, a middle and an end. Although these come in many guises a plot is always evident in one form or another.
Looking at the genetics of a video game however, this notion of plot can be completely irrelevant or purposefully vague.
The popularity of video games has now surpassed that of movies, and become one of the largest product revenue raisers in the world. They have continued to evolve and increase in complexity to the point where real life and cyber space are often blurred.
This gives us opportunity for exploration between human need and human desire.
This proposal endeavors to explore the complexity behind the video game and link it to the common spaces of a residence. It attempts to transport itself, and people, to places not normally accessible, and systematically link them with qualities of an endlessly entertaining experience and journey.
Each program forms its own endless loop, which at specific points interacts with the loop of another. The planning complexity is evident not only where these circulation paths cross, but with options occurring within the in-between spaces. As with a video game these circulation zones work together offering an epic unpredictable atmosphere with freedom of choice. There is never a designated end point, or a specific path to get somewhere, generating an environment made up of imagined narratives.
Along with the options for circulation, one can choose their preference of such things as weather, time, or a completely new, and instantly engrossing setting. People can’t help but find the possibility of transportation, in a video game, enthralling and addictive. It provides a myriad of choice and a variety of unexpected encounters. It is a simple human instinct and desire to be transported to another place, to another time, and to experience the things thought to be most out of their reach.
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