Aqua Fluxus is an ongoing project investigating cartographies of turbulance, chaos and fluidity.
The project documents a series of natural disasters that impacted remote island micro-communities, leading to the displacement, abandonment, rebuilding or cultural reinstating of an entire community. I have visited and studied a series of these situations over the last three years, investigating issues of geographical instability and forced nomadism.
The project investigates develops a series of maps that capture these moments of sudden and unexpected interaction between man and nature. The interest is in the interplay of events as the dominant physical language rather than the physical geography, experimenting with alternative cartographic methods centred around recording the of memory of a place in process.
AQUA FLUXUS II
A CARTOGRAPHICAL BALLET
The works explore complex interplaying forces of turbulence and turmoil, compressions of speed, impact and fluidity.
They transfer the energies of meteorological phenomena into expressive and atmospheric cartographies, performing with time, speed and gravity to create large calligraphic compositions that consist of smaller delicate interplaying movements when viewed close up.
The paintings are drawn from progressive distances away from the paper, from 1 to 2 to 3m, capturing the dynamic performance of their formation through the speed, splay and force of the line. They are cartographical dances, simultaneously performed and caught mid-performance.
PERFORMATIVE PAINTINGS, 160CM x 90CM
Enacted at height 3m, speed varies from 1 to 6 m/s, duration 10 to 90 minutes.
AQUA FLUXUS III
NEW FLUID TERRITORIES
FORM | FLEE | FRAGMENT
New geographies are formed from the fragments of old places thrown into turmoil by complex interplaying forces. A fluid world constantly in flux, changing speed and tempo, zooming in and out from itself and examined from multiple angles. Each drawing explores a moment within the turbulence - the coming together, falling away, and unpredictable choreography of parts caught in a perpetual state of genesis and destruction.
The works explore the complexity of mapping dynamic situations through engaging multiple perspectives, fragmentation, confusion and conversation between social, geographical and architectural viewpoints.
SUSTAINABLE DEVELOPMENT AND STRATEGY
VISUALISING SUSTAINABLE RESEARCH AND ECOSYSTEM DESIGN
Aeon Strategy are gaining global ground as a pioneering platform on energy, climate change and the built environment. A series of drawings commissioned to visually explore their projects as a research collective, project facilitator and within urban strategy and policy support. See more of the sustainable and socioeconomic energy projects they are involved with at www.aeonstrategy.com
MAPPING DISAPPEARANCE IN THE MALDIVES
The Maldives archipelago is one of the most remote, beautiful and fragile places on earth. The third most endangered country from rising sea levels and the lowest in the world, these tiny islands are home to 400 000 people and in constant threat of submergence. Many of the islands have already been abandoned and entire towns are currently under governmental and charity-led programmes to relocate to neighbouring “safe” lands.
The map plates preserve six of these endangered islands as relics of how they stood upon my visit last year. From on-site mappings, the island outlines are hand-etched into copper sheets and then exposed to a series of acid erosion processes in reflection of the destructive ocean forces. The process takes several days to complete, simulating in scale the slow yet persistent degradation of land. The resulting three-dimensional topographical models thus preserve a frozen moment of these endangered places caught in transition. The embossings pressed from the plates are almost invisible - ghosts - as the islands will themselves too soon be.
1. Kandholhudhoo, Raa Atoll 5.4638° N, 73.0347° E. Abandoned 2004
2. Dhuvaafaru, Raa Atoll 5.6183° N, 72.8556° E. Abandoned 2060
3. Berinmadhoo, Haa Alif Atoll 7.0475° N, 72.9719° E. Abandoned 2007
4. Hoarafushi, Haa Alif Atoll, 6.9826° N, 72.8951° E. Abandoned 2049
5. Gemendhoo, Dhaalu Atoll, 5.2756° N, 73.0197° E. Abandoned 2004
6. Kudahuvadhoo, Dhaalu Atoll, 2.6707° N, 72.8914° E. Abandoned 2055
SCHIZOPHRENIC PANOSPHERES // A HYDROLOGICAL DIARY
Two opposing topographies // converge across 11 000km of water 51.510° N 0.118° W // 34.901° N 56.165° W
From where the River Thames // meets the North Sea
To where the Río de la Plata // meets the South Atlantic
Two weeks to sail // from London to Montevideo by ship (1914)
With nothing to do // but study the sky and survey the sea
Instigating two weeks of // schizophrenic weather recording (2018)
A simultaneous account // of meteorological immateriality
Drawn in light and water // through measure, clue and witness
From one evaporates // unto to the other
The Great British Winter // exposes the South American Summer 15.01.2018 // 28.01.2018
Kirsty Badenoch // Samuel Coulton
An exhibition exploring temporal meteorologies: cyanotype exposures developed over the course of eight hours and degraded over 24.
Curated and exhibited as a part of BREAK//LINE at The Bartlett, UCL
[SUPER]NATURE I: RE-ENGINEERING WATER
FLOOD MITIGATION MASTERPLAN
New Lohachara is a masterplan for a new sustainable hydro-city, centered around the preservation of disappearing lands and cultures in the face of rising sea levels. The project explores an architecture that augments nature: Architecture as [Super]Nature. Through investigating the potentials offered by a changing world, the project embraces climate change as inevitable, and seeks new positive opportunities created by it.
The manifestation of Supernature within New Lohachara is split into three parts, each of which harnesses a natural water condition and state an re-explores it as an architectural process.
The urban-scale proposal re-engineers the principals of the water cycle, relieving Venice from rising sea levels through a series of giant wells that store and process excess floodwater from the lagoon, forming a protective ring around Venice. The flood mitigation system looks at a long-term reactive strategy that embraces water intake and balances extreme seasonal water fluctuations.
“Lohachara” refers to a small Indian island that disappeared beneath the rising seas a decade ago. The narrative of the project adopts these “first refugees of global warming” as the inhabitants and missionaries of the new city. Constructed in embrace of water, New Lohachara is dedicated to the “saving” of other endangered lands from their similar impending fate of disappearance beneath the rising seas, and in doing so simultaneously revives the ancient civilisation of the lost island of Lohachara.
“New Lohachara” manifests itself as the City of 1000 Wells across the 1000 globally most endangered sites with reference to Italo Calvino’s Invisible City, Isaura.
The series of Well megastructures intake, store and process excess flood waters from the lagoon in a slow attenuation and dispersal system excavated as a series of staggered reservoirs that react to tidal intake and fluctuation over the course of the year.
The drained flood water is processed from brackish to freshwater and stored at the base of the well. It is periodically distilled in great boilers and rises to the surface as steam. The water vapour collects as clouds and is transported to Venice. It is then force precipitated over Venice and collected as the new local freshwater supply in completion of the re-engineered water cycle.
[SUPER]NATURE II: PRESERVING VENICE
PRESERVATION OF VENICE
The New Lohacharian Wells are sited around Venice as a notorious and fantastical land impeded by the rising seas. The wells sit protectively, almost invisibly around Venice, touching the city lightly. Venice views New Lohachara as ephemeral, as a shifting skyscape of cloud and water. This immaterial border is celebrated in a mutual festival of water that marks the modified seasonal shift as a common territory.
Weather modification utilises natural weather principles to create a “supernatural” weather system, a modified local landscape of cloud and rain that moves between New Lohachara and Venice through wind-control positioning and ionic charging.
The ancient masterplan of the city of Venice as a great rainwater collector is reintroduced, re-purposing the ancient wells in the campos as rainwater-collectors.
Utilising ionisation as a method of attraction and forced precipitation, the freshwater cloud is collected in great chandeliers that hang delicately above the Venetian wells, creating a dynamic performative sky-scape above the old. The water cycle is celebrated and brought into focus as a miraculous ediface.
SUPER[NATURE] III: RE-ESTABLISHING LOHACHARA
MANUFACTURING THE TROPICS
The re-establishment of Lohachara Island within the Venetian context re-creates a tropical microclimate within a temperate context through the utilisation of the byproducts of mass-water intake and processing.
The environment of Lohachara’s tropical homeland contributes to the “revival” of the lost island of Lohachara through allowing portability to fundamental aspects of the community's culture, including the ability to grow tropical produce, and the festivities centred around the monsoon season. In doing so, [Super]Nature is explored in a manufactured re-understanding of the principals of the rainforest through recycling of local resource.
The boilers and steam transportation pipes form “trees” that are tapped to fuel the tropical rainforest microclimate, allowing the growing of crops and the manufacturing of the tropical seasons in alignment with tidal floodwater intake. The waterfalls and processing reservoirs form a cooling environment for the housing, water farms and local harvesting of hydropower. The low-tech community-built housing constructed locally using sand from the excavated aquifer, over time incorporating accumulated limescale and salt blocks.
The rituals of the Indian farming community align with the descending and rising waters. Their materials are as much air, water and the colourful dancing of saris as the mighty concrete of their backdrop. Looking out from a New Lohacharian home on a warm autumns day 50m below sea level, the mango trees are ripe for harvest and the boats are being pulled in ready to collect the winter light.
Hand cut atlas: land removal, 2016
POSTCARDS OF SOLASTALGHIA
A CRUISE OF THE LOST ISLES
Derived from the Latin cium- (comfort) + Greek -algia (pain)
~ The homesickness one experiences when one is still at “home”.
SOLASTALGHIA has been coined in psychology to describe the pain or sickness caused by an inability to derive solace from one’s home environment, it having altered beyond control or recognition. The ancient Inuit term uggianaqtuq, traditionally used to describe an obscure behaviour, often in reference to a "friend acting strangely," has been re-employed to describe unfamiliar weather behaviour and unexpected climatic shifts.
A collection of postcards from lost places that still exist - places absent of their presence - explores relationships between psychological states and states of the environment.
House of Fairytales
“When the sun rose higher, Elisa saw before her a mountainous land, half floating in the air. Its peaks were capped with sparkling ice, and in the middle rose a castle that was a mile long [...] Down below, palm trees swayed and brilliant flowers bloomed as big as mill wheels. […] When she came close to the churches they turned into a fleet of ships sailing beneath her, but when she looked down it was only a sea mist drifting over the water”.
“The Wild Swans,” H.C. Andersen, p.132
“The Fairytale Forest” envisions the garden of H.C. Andersen as a mighty forest growing amidst a great lake within the heart of Odense. The forest extends the existing garden skyward to a treetop walkway perched amidst a sky-scape of floating pools, with views that skim across Odense city. The tree-top museum winds a journey through a nature reserve of swaying bulrushes, wild birds and treehouses that float mid-air – gradually uncovering the stories of H.C. Andersen through a garden in which you can walk on air.
The tree trunks form a dappled forest-scape below that extends out into the surrounding streets, blending the forest into the city. The great lake collects and celebrates rainwater from the city around it, in a seasonally shifting landscape of waterways, rockpools, fountains and ice ponds - in a garden in which you can walk on water.
The forest allows the museum to operate as a transient journey where the city, nature and the imagination meet. The individual “trees” of the forest embody imagery from H.C. Andersen’s worlds, recognisable characters from his tales, metaphors he coined and objects he used in his daily life and work. In this way, the forest manifests the projected “toolbox” of H.C. Andersen.
Sitting protectively over the little yellow house at the heart of the forest is the Mighty Oak, the gateway to the lofty treetop garden. It is through this great tree that you enter the magical world of H.C. Andersen and ascend up into the skies, into the realm of your imagination.
Realdania competition entry in collaboration with Peter Bullough.
Final 17 of 486 entries
THE LIVING COSMOS
Interplanetary vegetal illustrations for my great friend at Planterplaneter, Kaja Skytte.