For this submission, our collective group of architects wanted to take the opportunity to create architecture that shaped our clients lives for the better. In that, we wanted to overcome the limitations of our client's natures that are perhaps self-imposed, and isolating them from the rest of society. The Timeman's dwelling enables us to do so, as it was unanimously decided that it would be host to a series of catalysts that activate movement throughout the site -mostly initiated by interaction with the interior units (ie, pulling down the bed, sliding the kitchen benchtop across, and so on). This would then allow for moments of physical interaction between each of our clients dwellings, paving the way for emotional connections in the future. Collectively, these movements are attempts to open our clients up to each other and the world, and if not, at least allow them to be segregated together, united.
As you can see, the design language revolving around the circular, geometric and infinite forms has carried through from the first proposals. Now, the interior and in particular the exterior conditions have become more realised, in that the dwelling has a dual dynamic skin that begins fully enclosed, and progressively opens up following specific catalysts. That is, the inner thick, sedentary concrete wall -contrasted against the outer lightweight timber screen- has opportunal partitions embedded within that can be pushed out, pulled down, slid across; creating new openings in the facade that allow light to flood in. And this process, which symbolically represents The Timeman opening himself up to the world, is very deliberate because when the dwelling is sealed off in it's isolated state, the only light permitted is through the central occulus. Consequently, the interior conditions around the perimeter of the design would consist only of darkness. This is a conscious design decision that I have deliberately made in an effort to open The Timeman to new possibilities and experiences. The layout in plan, revolves around a central axis which is the atrium, hence the organisation of units and furnishings is typically around the perimeter as dictated by a radial form. In typical real-world conditions, this form can be quite unfavourable due to the longer distance time it requires simply to get from point A to B, however, The Timeman, due to his psychological disconnection from reality, has no sense of urgency and is untroubled by this. So I've really played to this intriguing anomaly by maximising the distance one must cover simply to enter. If you refer to the plan drawings above, you'll see that entry begins outside on the ground floor, by travelling down exterior stairs below ground, then moving underneath the building into the central atrium, to then have to traverse up more stairs; all of which just to get inside back onto ground level.
Ultimately, this design is dealt with quite whimsically, and attempts to resolve problems by reacting to the manner in which it is inhabited by my client The Timeman. This is how I have attempted to create influential, and perhaps transcendent architecture.
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