Architectural and Digital Material Cultural Probe (ADMCP)


(1.1 Hyperisation 1.2 Hyperactive: architecturally active and even disruptive design methodology. 1.3 Hyperlink: non-linear, non-sequential linked space. 1.4. Hypermedia: non-linear, non-sequential linked space with non-homogeneous materials. 1.5 Hyperspace: Commingle of physical and digital space, human and artificial intelligence.)

(2. Indexicality: multiple-bodies, multiple-fields’ reference and diverse ontologies.)

(3.1 Gamification: the process of adding diverse games elements and material culture to hyperspace as to encourage participation of non-hegemonic spatial experiment. 3.2 Ludification: the process of introducing playfulness and seriousness of gamified materialism ontologies beyond the game itself and further into the hyperspace.)

The research seeks to provide a definition of ‘hyperisation’ and ‘gamification’ in reference to its architectural, digital, anthropological and material cultural significance.

Ranging conventional physical architectural references to alternative contemporary digital game and cultural examples, this thesis employs an indexical approach to consider essential conceptions on aesthetics, bricolage, colour, digital, materiality and movement. The research utilises an index that incorporates urban, architectural, art, anthropological, archaeological, technological, digital subcultural materials from multiple mediums, including virtual reality (VR), video, photography, painting, manga, animation and game. This unique cultural composite crosses over from the academic sphere to banal everyday scenarios and encompasses various subcultures.

The index includes research on the Pitt Rivers Museum, Oxford, and Petrie Museum of Egyptian Archaeology, London, as examples of anthropological and archaeological practice. It also investigates the physical environments of West Bromwich, London, Los Angeles and Auckland together with the digital game spaces of Neo-Tokyo, Los Santos, New York, Miami and Cairo as urban material. Video game, technological and digital subcultural material is drawn from the Nintendo Virtual Boy, HTC Vive, Titan Fall, StarCraft, Double Dragon, Grand Theft Auto (GTA), Max Payne, Delta Force, Hotline Miami, Kim Dotcom, Predator, Akira and Neon Evangelion Genesis.

The index proposes a series of elements for further investigation:

1. Fun Palace (Cedric Price, 1960-1966)
2. Inter-Action, London, UK, (Cedric Price, 1970-1981)
3. Kentish Town City Farm, London, UK (documented 2017)
4. The Public, West Bromwich, UK (Will Alsop, documented 2016)
5. Club Arcadia, West Bromwich, UK (documented 2016)

6. Hotline Miami, Miami, US (1989)
7. Grand Theft Auto: Vice City, Miami, US (1986)
8. Grand Theft Auto V, Los Santos, US (2013)
9. Max Payne, New York, US (1987)
10. Delta Force, Cairo, Egypt (1985)
11. Akira, Neo-Tokyo, Japan (1988)
12. Neon Genesis Evangelion, Tokyo-3, Japan (1995)

13. The Personal Effects of Kim Dotcom, Auckland, NZ (Simon Denny, 2014)
14. ADMCP, London, UK (2017)

The thesis utilises a variety of media starting with drawing, painting, photography and collage before extending to photogrammetry, 3D scanning and ultimately VR filming, modelling and painting. 360° VR videos are created from a series of research archives - ‘hyper ADMCP primer’, ‘hyper domesticity’, ‘hyper landscape’ and ‘hyper architecture’ - as a means of provoking a discussion about the cultural and technological intermediation between the physical and digital spaces, a mediation heightened through hyperisation and gamification. Ultimately the thesis aims to flip between the physical and digital by infusing the research of the non-game architectural and urban context with an in-game aesthetic environment, creating a new architectural epistemology that erases the physical digital boundary and introducing hyper indexical design research approach on contemporary art, architectural and technological media practices.
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