[Top 10 London Units: Part 1 level] Tutors: Liam Young, Kate Davies
‘The End of the World and Other Bedtime Stories’: We sit in wait for the end of the world. We have always regaled ourselves with unnerving tales of a day yet to come. Tomorrow is a dark place and our culture is full of tales of a natural world out of control. Whether it be nuclear apocalypse, viral epidemic, tumbling
We have recruited a vagabond troupe of doomsday cultists to join us in this world after the crash; to dance in the shadow of catastrophe and question our fears and misgivings about the future. Together we have voyaged to the edge of the world, ‘the last wilderness’ of the Arctic.
We have not gone quietly into the night but instead have forged an intentional community and cult compound of activist architectures, eco terrorist responses and maverick manifestos. We are visionaries and reporters, critically engaging with the conditions of today through speculation about the coming of tomorrow. Standing at the brink we contemplate an end that is laden with fears and inconsistencies yet at the same time proves to be ripe with unknown escapes and wondrous possibilities.
Unit references: Studio Ghibli, Dunne & Raby, Ant Farm Architects, Joep Van Lieshout, Philip Beesley
Ioana Iliesiu (shortlisted for AA Nicholas Pozner prize)
Ioana’s project, ‘The Ruins Of Twitter’, is a monument to the Death of The Internet, located in the wild north-west of Iceland.
In the server dome, tweets are recited by a mechanical voice. The server hangs from a pulley system hovering over an interior saltwater lake. The Dome is streaked by ribs vibrating in tune with the tweets, etching recordings in to a glacial wall of atomised water.
Men and women huddle in the cold mist, with headphones and record needles, indexing 100-year-old tweets. The lower area of the ice library is slowly melting. Through canals dug in the heavy concrete base, the Twitter streams form a data waterfall that opens towards the Arctic Ocean.
Tobias Jewson (awarded high pass)
Tobias’ project ‘Accelerated Landscapes’ responds to fears of data loss and the ephemera of digital information. With advances in bio computing, data is now stored as calcifications under the skin. In the vast lava deserts of Iceland, hordes of machines roam the landscape. Under immense heat they transform loose soil into a glass forest, a repository of data gathered from the surveillance of the internet. As we communicate the landscapes grows, relentlessly keeping record of our activities. At another end, the landscape erodes and vegetation start to take over, but fragments of the accelerated landscape remain, evidence of our activities and our paranoia.
In ‘Scatterbrain: A Cautionary Tale’, the vast intangible landscapes of the internet have been consolidated in the physical form of the computational forests of Scatterbrain Iceland. It is no longer correct to say that the internet has no form. Here in Iceland, the Internet is an - one that represents all our dreams and desires, and which guards all our secrets. But a machine this powerful will only remain blind and deaf for so long. Soon we will have to address an intellect with its own aspirations, which will reject its creators. Across the informatic seasons, the last great machine blinks and flickers silently in the wilderness.
Borja Miguiro (awarded High Pass for TS)
‘The Arctic Shipping Canal: Where the Corporation is King.’ The natural wilderness of the Arctic is bisected by the largest shipping canal ever built, becoming a trading post for the world’s freight industry and the new wild west of oil and gas exploration. Slicing vertically through the ice shelf a landmark tower surveys the vast landscape and mechanically consumes it in order to resist the monumental forces that surround it. It is a trading post situated at the top of the world, around which the earth revolves. Sailors hustle on the docks as businessmen stare down from above. When taking the corporate model to its extreme, all landscapes exist to be profited from.