For his student thesis project at the Bartlett School of Architecture, Thomas Hillier produced an immersive narrative world, complete with origami-filled hand-cut book pages and an elaborate model of the story’s architectural landscape. Hillier’s project was called The Emperor’s Castle and it was inspired by the work of Japanese printmaker Hiroshige.
In Zamyatin’s 1920 novel We everything is made of glass. There is only one city, ruled by the Benefactor, a glistening metropolis of green glass – all the buildings, all the streets, all the furniture, even the very wall of the city itself are cast from that one pure liquid. The ‘cyphers’ (as the mathematically-minded citizens are known) operate in a transparent world where everything is immediately visible, and therefore immediately perceivable.At the edge of this vast crystal dictatorship is “the ancient house”, a home from the early 20th century protected from the age of millennia by a protective glass pustule. It is remarkable because of its solidity, its opaqueness, and its strange ornaments and objects that imply outmoded societal structures. But as the protagonist, D-503, points out, while in the process of solving a question of mathematical logic: “there is no end to revolutions. Revolutions are potentially infinite.” Even the magnificent towers of glass will one day crumble back below the surface of the earth, leaving behind them only one thing: a violent and savage humanity.
Architect & Editor of ‘The Space Between’magazine, Christian Kerrigan investigates in his recent work, how man’s ability to control his surroundings is intimately linked with his advancing capabilities of using technology. Christian says “We have reached a point in our evolution where we are now capable of creating design criteria to manipulate natural growth and development.” Here are a number of stunning award winning drawings he has produced to bring his futuristic visions to life.