project


Liam Young, 26 02 17


Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, the near future city is recorded through the eyes of the robots that manage it. Across a single night a group of young car factory workers drift through Detroit in a driverless taxi, searching for a place they know exists but that their car doesn’t recognize. They are part of an underground community that work on the production lines by day but at night, adorn themselves in machine vision camouflage and the tribal masks of anti-facial recognition to enact their escapist fantasies in the hidden spaces of the city. They hack the city and journey through a network of stealth buildings, ruinous landscapes, ghost architectures, anomalies, glitches and sprites, searching for the wilds beyond the machine. We have always found the eccentric and imaginary in the spaces the city can’t see.

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Liam Young, 27 09 16


Directed by speculative architect Liam Young and written by fiction author Tim Maughan, In the Robot Skies is the world’s first narrative shot entirely through autonomous pre programmed drones. In collaboration with the Embedded and Artificially intelligent Vision Lab in Belgium the film is captured by a specially developed flock of camera drones each with their own set of cinematic rules and behaviours.

The film explores the drone as a cultural object, not just as a new instrument of visual story telling but also as the catalyst for a new collection of urban sub cultures. In the way the New York subway car of the 80’s gave birth to a youth culture of wild style graffiti and hip hop the age of ubiquitous drones as smart city infrastructure will create a new network of surveillance activists and drone hackers. From the eyes of the drones we see two teenagers each held by police order within the digital confines of their own council estate tower block in London. A network of drones survey the council estates, as a roving flock off cctv cameras and our two characters are kept apart by this autonomous aerial infrastructure. We watch as they pass notes to each other via their own hacked and decorated drone, like kids in an old fashioned classroom, scribbling messages with biro on paper, balling it up and stowing it in their drones.. In this near future city drones form both agents of state surveillance but also become co-opted as the aerial vehicles through which two teens fall in love.

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Liam Young, 29 04 15


Tomorrows Thoughts Today’s Liam Young and long time collaborator Kate Davies run the Unknown Fields Division. Unknown Fields have launched a new project called Rare Earthenware, developed for the ‘What is Luxury’exhibition at the Victoria and Albert Museum in London.

While journeys to extraordinary places are the cornerstone of luxury travel, this project follows more well-concealed journeys taking place across global supply chains. It retraces rare earth elements, which are widely used in high-end electronics and green technologies, to their origins. A film of the project, developed in collaboration with photographer Toby Smith is composed as a single panning shot along a planetary scaled conveyor belt, documents their voyage in reverse from container ships and ports, wholesalers and factories, back to the banks of a barely-liquid radioactive lake in Inner Mongolia, pumped with tailings from the refining process. To accompany the film, Unknown Fields Division have used mud from this lake to craft a set of three ceramic vessels. Each is proportioned as a traditional Ming vase and is made from the amount of toxic waste created in the production of three items of technology – a smartphone, a featherweight laptop and the cell of a smart car battery.

You can watch the full ‘Rare Earthenware’ film exclusively on our project page at the Guardian

The finished vases are made from the exact amount of toxic waste produced in the manufacture of 3 objects of technology- the smartphone, the laptop and the electric car battery cell. Film Still © Toby Smith/Unknown Fields

Unknown Fields collecting radioactive tailings material from besides the worlds Largest Rare Earth minerals refinery in Inner Mongolia. Film Still © Toby Smith/Unknown Fields

Radiation scientists test the toxic clay collected from the tailings lake and find it to be 3 times background radiation. Film Still © Toby Smith/Unknown Fields

The amount of toxic clay produced in the manufacture of a single smart phone is moulded into a traditional Ming vase form. Film Still © Toby Smith/Unknown Fields

A Chinese factory worker assembles the components of our tech gadgets along a conveyor belt that stretches from Inner Mongolia to a London retail store. Film Still © Toby Smith/Unknown Fields

Rare Earthenware by Unknown Fields. Film and Photography in collaboration with Toby Smith, Ceramics assistance from Kevin Kevin Callaghan, Animation assistance from Christina Varvia

project


Liam Young, 14 10 14


New City is a series of animated skylines of the near future developed by Tomorrow’s Thought Today’s Liam Young. In intricate 5k detail they depict a speculative urbanism, an exaggerated version of the present, in which we can project new cultural trends, environmental, political and economic forces. Photographs taken on expeditions around the world with nomadic studio Unknown Fields, to document these emerging phenomena and weak signals have been meticulously stitched together and extrapolated to form each city skyline. In this way ‘New City’ slips between the real and the imagined, between the documentary and the visionary, where speculative fictions become a way of exploring a world that the everyday struggles to grasp. To accompany the animations the authors Jeff Noon, Pat Cadigan and Tim Maughan have been invited to write a story for each skyline, to breathe life into its characters and cultures and give form to its streets and spaces through a suggestive narrative fragment. Original New City soundscapes have been developed by Coldcut. The animations have been commissioned by Z33 and are screening as part of ‘Future Fictions’.

This skyline is narrated by Tim Maughan and is titled “Keeping Up Appearances”. Read the short story below.  (more…)

project


Liam Young, 14 10 14


New City is a series of animated skylines of the near future developed by Tomorrow’s Thought Today’s Liam Young. In intricate 5k detail they depict a speculative urbanism, an exaggerated version of the present, in which we can project new cultural trends, environmental, political and economic forces. Photographs taken on expeditions around the world with nomadic studio Unknown Fields, to document these emerging phenomena and weak signals have been meticulously stitched together and extrapolated to form each city skyline. In this way ‘New City’ slips between the real and the imagined, between the documentary and the visionary, where speculative fictions become a way of exploring a world that the everyday struggles to grasp. To accompany the animations the authors Jeff Noon, Pat Cadigan and Tim Maughan have been invited to write a story for each skyline, to breathe life into its characters and cultures and give form to its streets and spaces through a suggestive narrative fragment. Original New City soundscapes have been developed by Coldcut. The animations have been commissioned by Z33 and are screening as part of ‘Future Fictions’.

This skyline is narrated by Jeff Noon and is titled Edgeland: The Symbiant. Read the short story below.  (more…)

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Liam Young, 10 03 14


Future Perfect is a fictional, future city. A think tank of scientists, technologists, designers, artists and science fiction authors have collectively developed this imaginary place, the landscapes that surround it and the stories it contains. The think tank included futurist Bruce Sterling, author Warren Ellis, scientist Rachel Armstrong, and many more. You can watch the public think tank archived on the projects vimeo channel. The following series of posts presents the Future Perfect exhibition- a stage set for a collection of fictions, movie set models, emerging infrastructures and design experiments that can be inhabited as immersive districts of the future city.  In this introductory post which outlines the vision of the project we see the early concept art developed with Daniel Dociu and Hovig Alahaidoyan.

Emerging in the shadows of the decaying towers of a post oil Dubai, geo engineered by climatologists and influenced by the imminent economic boom of the Indian subcontinent it is a terraformed urban island. A city that grows intuitively, a creature, living, breathing and computing, a seething ecology that is evolving as a new metropolitan megaform. A speculative urbanism, an exaggerated present, where we can explore the wonders and possibilities of emerging biological and technological research and envision the possible worlds we may want to build for ourselves.

For the future is not something that washes over us like water, it is a place we must actively shape and define. Through fictions we share ideas and we chronicle our hopes and fears, our deepest anxieties and our wildest fantasies. Some of us will be swept up in what the city could be, others will be reserved and look on with caution. We have not walked these streets before, what things may come, in a Future Perfect.

The future at the intersection of science and fiction

Using fiction as a speculative tool in conjunction with scientific research to probe the outer reaches of the realm of possibility, project collaborations were forged between designers, research divisions and authors to develop a constellation of five works and accompanying short stories that make up the districts of Future Perfect.

In the exhibition, visitors are invited to wander through them, reading messages embedded in the landscape, witnessing the increasingly responsive processes through which the city grows, self-regulates and communicates, scrutinizing a hybrid atmosphere where natural and man-made, digital and material, fact and fiction, become increasingly indistinct.

Bots drift across this inhabited geology, a dense accumulation of crevice rooms, and public valleys. Through the strata is threaded the tendrils of a complex circulatory system that feeds the moist surfaces of a vibrant endemic ecology where nature and technology intertwine and biology becomes a new economy. Supercomputers whistle and whir; a virtual city, a parallel city overlaid directly onto the physical turns everything into interface, everything into program. The city watches on, breathing, blinking.

Visitors begin their tour at the edges, in THE WILDS of the city. A new bioengineered species of pharmaceutical plants glisten under the light of its neon suns. Next they pass THE LOOMS, and their heads brush the webbed canopy of cable bots as they hum and spurt their nozzles across a section of virgin ground. It is a city that is grown rather than built, a computed territory, faceted and abstracted, endlessly reprinting itself as demand requires. Visitors push past a laser-scanned mountain in THE SUPERCOMPUTER as its radiant digital landscapes become more real than the ground beneath them. They gesture and a ghost iceberg parts, they wander through beyond the printing pools of THE GARMENT DISTRICT and the digital prosthetics hanging out to dry. As they come to THE LOOKOUT, Future Perfect unfurls in luminous detail in front of the visitors. They watch children playing running through the streets while the city struggles to keep up.

The short stories of Future Perfect have been collected in “BRAVE NEW NOW”, a book of original fictions set in the imaginary city and photography works. The ebook will be available for purchase shortly from close-closer.com and from the Apple and Kindle stores.

“BRAVE NEW NOW” features original fictions by Rachel Armstrong, Bruce Sterling, Tim Maughan, Warren Ellis, Anil Menon, Jonathan Dotse, Samit Basu and photography by Victoria Sambunaris, Michael Wolf, Greg White, Neil Choudary, Vincent Fournier, Dan Holdsworth, Thomas Weinberger, Brice Richard, Daniel Beltrá, Christina Seely, Greg Girard, Bas Princen, Charlie Koolhaas.

Future Perfect was produced for the Lisbon 2013 Architecture Triennale and is an evolution of Under Tomorrows Sky developed with MU, Eindhoven.

[Image Credits: All images by Hovig Alahaidoyan except image 3 +4 by Daniel Dociu]

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Liam Young, 10 03 14


Future Perfect is a fictional, future city. A think tank of scientists, technologists, designers, artists and science fiction authors have collectively developed this imaginary place, the landscapes that surround it and the stories it contains.  The following series of posts presents the Future Perfect exhibition- a stage set for a collection of fictions, movie set models, emerging infrastructures and design experiments that can be inhabited as immersive districts of the future city.  This post presents the Future Perfect Lookout, that spot up high in the city, where we lie on the hood of a car and from a clearing in the mist we scan across the city in luminous detail. The Lookout takes the form of a short film, Chupan Chapai, based on a story by Tim Maly, directed by Factory Fifteen and produced by Liam Young.

A film is projected from the lookout that follows a group of children as they play a game of “hide and seek” in Future Perfect. Shot on location in across India, we see through their eyes a near future heavily influenced by the imminent boom of the Indian subcontinent, an emerging technology and economic superpower. The control systems that now run traffic systems, power grids and financial networks sit in the shadows, out of sight but silently organising our lives. Deep in the substrate of Future Perfect is a supercomputer that regulates the city and everyone within it. Reminiscent of an exaggerated silent film, everyone interacts with their digital city through intricate signs and gesture control. As the children play they learn to hack the augmented streets evading their friends but getting lost in the hidden spaces they have unlocked. They must escape from a sentient city that no longer recognises them.

 

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Liam Young, 04 04 13


From the Unknown Fields Division 11/12 Far North Alaska Studio run by TTT’s Liam Young and Kate Davies comes a new project by Will Gowland. The world is now concealed and manipulated in ways that make answering the question of where am I an impossibility. Glitches in the big and fragile infrastructures of Global Positioning systems mean we are sometimes both here and there, as a pulsing blue dot locates us to within 500metres. What are the implications of a navigational system based solely on the virtual? Will Gowland, in our Department of Landscape Glitches has jammed the GPS networks and revealed an alternative virtual topography, a territorial architecture of spoofed cartography. It is an emerging landscape that operates and exits in two parallel worlds, the physical and the virtual. Imaginary protest icebergs drift through the autonomously navigated oil shipping lanes. We get lost in a wilderness of illegal signal jamming formations and we glimpse the faint flicker of covert militarised GPS territories, super stable under a secret sky of black satellites. Some are landscapes of misdirection, others are navigational markers guiding one safely through unstable terrain. We now put our faith in a digital territory that is just as unknown and fallible as the physical.

virtual-icebergs

Imaginary gps ghost protest icebergs drift through the autonomously navigated oil shipping lanes.

william_gowland-Oil-Mountains-of-the-North

Oil reserves are hidden below digital GPS mountains

illegal-oil-field

An illegal oil field is hidden in a GPS spoof, a digital landscapes of misdirection.

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Darryl Chen, 03 03 13


Darryl Chen’s New [Socialist] Village is a research project that asks whether China could teach the UK how to plan. It was exhibited at the 2012 Venice Biennale British Pavilion as part of the Venice Takeaway: Ideas to Change British Architecture research project; and at RIBA London from 26 February until 27 April.

Quoting Mao Zedong, imagining Ai Weiwei as an urban strategist, and citing Communist China as a model of flexible governance, the New [Socialist] Village proposes handing revolutionary power back to local people while co-opting the entrepreneurial skills of Richard Branson to create a model entrepreneurial village for the UK.

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Liam Young, 11 06 12


Coal miners once hammered rock with twittering canaries living beside them, their changing song a warning alarm for a dangerous gas leak. These living sensors watched over us and kept us safe.

‘Singing Sentinels’ by London-based architect Liam Young of Tomorrows Thoughts Today explores a future scenario where bio-engineered birds once again monitor the air for us. Eighty birds have been released into the New Order exhibition at the Mediamatic Gallery in Amsterdam as an ecological warning system, living in the space and providing audible feedback on the state of the atmosphere. Across the course of the exhibition Liam performed the climate change acceleration piece ‘Silent Spring’ seen in the film above. As a ‘pollution DJ’, he flooded the gallery with CO2, altereing the air mixture to replicated the predicted atmospheric changes of the next 100 years. We hear the canary song subtly shift, their rythmn change and eventually silence, as the birds sing a toxic sky- an elegy for a changing planet.

To accompany the exhibition Liam Young, Geoff Manuagh and Tim Maly have written a near future birdwatchers guide “A Field Guide to Singing Sentinels: A Birdwatchers Companion” with illustrations from comic illustrator Paul Duffield. You can see an excerpt and purchase your copy of the limited edition book online here.

See below for exhibition photos.

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Liam Young, 17 08 11


Tomorrows Thoughts Today is part of the summer exhibition at MU Gallery in Eindhoven NL titled ‘The Great Babylon Circus’ and curated by the Berlin based critic and curator Lukas Feireiss, author of the book ‘Utopia Forever’ also featuring a number of TTT projects.  The exhibition brings together a group of artists and architects to engage in “the continuation of the never-ending design of the Tower of Babel. The Tower of Babel is one of the primordial metaphors of architecture, art and construction, as well as of the multiplication and confrontation of diverse languages and styles. The tower also symbolizes the ultimate hubris of human creation — the ambition to build something larger than life itself.”

In addition to Tomorrow’s Thoughts Today, participating artists are Brazilian social and cultural collective Project Morrinho, Belgium-German art collective Speedism and Moroccan artist Mounir Fatmi. The collaboration of these four global creative practices in the arena of MU unite around the mythic Tower of Babel theme, presenting us with new angles from which to view this legendary subject, and arguing for its social, political, and cultural relevance in today’s world.

Tomorrows Thoughts today (in collaboration with Denis Vlieghe and Oliviu Lugojan-Ghenciu) have installed an expansive living landscape of moss and robotics. Set within the vegation is a array and strange and curious creatures of the near future. Born of the city’s electronic surplus yet now essential to the city’s function, these species of beings have emerged who warm, warn, entertain, annoy, and play. They have arrived unannounced, emerged from the remains of rampant and uncontrolled modernisation, and have been subsumed into the normal workings of the city. In fact, the city itself has become a singular sentient being constructed of these malformed and (d)evolved freaks — the city’s new infrastructure.

Corporate research and development divisions scrutinize the beings, playing technological catch up with this autonomous evolution, the invisible hand of progress. Field researchers now observe the specimens captured in a controled environment. Gazing over this curated landscape, a robot zoo, the researchers’ working hypothesis is that the distinction between the products and byproducts of modernity have disappeared, and it is this disappearance that defines our new urban territories. In addition to the familiar favourites from our Specimens of Unnatural History project, collected within the zoo are such new specimens as:

The Virtual Forest
Observation notes: A landscape of artificial trees flicker with a distant wind. The augmented forest is wirelessly connected to a wind sensor in the Aokigahara forest at the foot of Mt Fuji. Thought to be haunted the remote presence of the winds rustling through the trees in Japan now illuminates a virtual ghost wilderness. Two simultaneous landscapes connected across the globe.

Networked Rodents
Observation notes: Existing animals are hacked to create a roving sensor network across the landscape. Like the old canaries in the coal mine birds sense and detect levels of toxicity in the air, grey squirrels track their own pest populations to extermination, moths and butterflies become a micro spy infrastructure and others monitor and scan for subtle ecological shifts.

Goldfish Avatar
Observation notes: Sensors track a lonely goldfish swimming in a tank. It becomes the live input for an emerging digital simulation. The fish’s movements are translated into an endlessly evolving online avatar that continues long after it is flushed away. Across time a virtual ecosystem takes shape on the web. Soon the internet becomes more of a wilderness than the disappearing landscapes of the physical world, a strange zoo of virtual ghosts.

The Digital shadow
Observation notes: Feeding off ambient electro magnetic fields of the cities neon lights and communications networks these floating antenna harvest the airborne energy to power a broadcast of white noise. Clouds of these blimps cast an electronic shadow across parts of the city. Initially an experiment in energy harvesting this infrastructure is now just gets up to general mischief but unexpectedly it also has creates some of the only disconnected analogue spaces in the city, where one can steal a brief moment of digital silence.

Monitor drone
Observation notes: Relentless and obsessive the tracking eye of the monitor drones scan ambient conditions and is sensitive to minute fluctuations in vast arrays of environmental data. Flocks laser scan the landscape recording animal numbers and vegetation patterns as point clouds of digital data. Wilderness sites become large curated landscapes constantly managed and engineered to create a perfect simulation of nature in balance.

Photograpghs by MU and Oliviu Lugojan-Ghenciu

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Liam Young, 09 05 11


From the Data Archaeology Lab in the Architectural Association’s Unknown Fields Division 09/10 Arctic Circle studio run by TTT’s Liam Young and Kate Davies comes Data Fossils by Tobias Jewson. Tobias, with Ioana Iliesu have explored what happens to our collective history when everything is digital. In the digital era our information no longer takes the form of the physical, but that of a electronic file stored in ‘the cloud’. Our collective history is quickly effaced from this fragile and ephemeral domain, a computer crashes, formats are quickly obsolete, a hard drive is lost and all is gone. With our attachment to physical objects and mementos becoming increasingly superseded by our relationship to information, what will we leave for future generations?

The project employs design speculation as a critical tool to explore the potential ways in which architecture and landscape may respond to our ever evolving digital fascination. ‘Data Fossils’ has evolved as a series of fictional scenarios grounded in technically rigorous physical and computational investigations. Real techniques have been developed for encoding digital information in the physical world at both individual and collective scales.

Advances in biocomputing are allowing the possibility of storing data in living, physical forms. As the division between our bodies and the digital becomes increasingly blurred, the bone’s ability to remodel itself, in response to stress, can be hacked to provide data storage. Polyps of calcified binary code become written onto our skeleton, recounting our digital identities.

A teenage informational glutton comes for a surgery consult, his skin stretched with the growths of excessive music and porn downloads. His hoarded browser bookmarks cripple his every movement.

A poet’s finest sonnet is read like Braille through his skin, prostitutes steal the secrets of their bussness clients through gentle carresses of their naked body.

The treasured remains of a loved one becomes an archaeology of memories.


An illegal immigrant hacks and grafts fragments of data bone into his own body in an attempt to conceal his true identity. His airport xray scan reveals the extensive titanium grafts typical of data identity theft.

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Liam Young, 09 05 11


From the Data Archaeology Lab in the Architectural Association’s Unknown Fields Division 09/10 Arctic Circle studio run by TTT’s Liam Young and Kate Davies comes Data Fossils by Tobias Jewson. Tobias has evolved his data fossils experiments from the intimate and personal attachments that calcify on our own bones into a vast digital geology of an internet archive cast into layers of volcanic glass across Iceland’s deserts. In the digital era our information no longer takes the form of the physical, but that of a electronic file stored in ‘the cloud’. Our collective history is quickly effaced from this fragile and ephemeral domain, a computer crashes, formats are quickly obsolete, a hard drive is lost and all is gone. With our attachment to physical objects and mementos becoming increasingly superseded by our relationship to information, what will we leave for future generations?

Our collective history can be deposited in columns and strata of earth – where once archivists trawled the library stacks, data geologists now roam the Icelandic landscape. Like climate records trapped in ice cores data archiving can also become a geological process. In southern Iceland the division found a ravaged landscape of eroding lava deserts- a desolate crust hiding beneath it extraordinary geothermal resources that now support huge investments in an emerging national industry of data storage and server farms. Data Geologies rehabilitate this damaged landscape by co opting these investments in technology and reimaging the Icelandic typology of data archives.

A suite of new software applications that subvert existing digital prototyping machines to encode the ephemera of the digital world into ever evolving architectural landscapes. Hoards of machines traverse the lava deserts, scraping loose sand from the surface, and under immense heat transforming it into elaborate glass like geometries, within which our recent internet activities are encased. Programs are developed to encode data inputs into structural building elements.

Simulation software is developed for the realtime growth of data geology from live twitter streams.

Informational topographies grow based and cluster on keyword inputs. The drugs keyword feed is especially active from late evening to early morning.

Topsoil blown by the harsh arctic winds soon gathers in the lee side of these immense structures, the grounded geological layer sprouting grass and moss. Over time, habitats will grow in the glimmering hollows as fields of data slowly reverse Icelandic soil erosion. Local Islanders read the growth of this landscape from afar, whilst archaeologists look close ,using advanced MRI scanners, searching for insights into our past. Information enthusiasts scan google earth sattelite images, deciphering geographies of data from across the globe.

People pilgrimage to this area known to hold the last data relating to flurry of internet activity from the day Michael Jackson died. It becomes an informational cathedral, a spatial obituary grown from a real time data feed.

And while tourists might flock to see history in the making archaeologists will read the dull fragments of frozen silica as records of our digital pasts.

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Liam Young, 24 11 10


“Most technological breathroughs are met both with frenetic predictions of life-changing improvement, and fear and naysaying. Instead Geoff Manaugh, Tim Maly and Liam Young examine the myriad implications of future technological escalation by speculating about their consequences through believable (though fictional) examples ranging from chemical-sensitive fowl to transhuman support groups made possible by nanoengineering.” Volume. pg72. Issue 24 counter Cultures

This is one fragment from the work. See Volume no. 24 Counter Cultures for more from the Strange Natures of Nanotechnology.

A field guide to toxicity machines.
From The Macmillan Birder’s Guide to Britain v8.03.3453

Green-throated Coal-gull
Highlight: Sensitive to high levels of CO2 in the air.

Description: When in the presence of high levels of carbon dioxide, their plumage phase shifts to an extraordinary emerald color. Coal-gulls can be found in gathering around the remaining coal-burning power stations and carbon sequestration centers. Take a fire extinguisher with you to draw them out of the trees. Note that caution is necessary when calling and tracking these birds, as evidenced by the ongoing litigation against a BBC documentary team for frivolous chemical spraying.

Roseshift Starling
Highlight: Engineered to monitor atmospheric levels of nitrous oxide.

Description: Typically brown and forgettable at ground level, in the presence of the greenhouse gas nitrous oxide the Roseshift Starling displays a fanned tail of extraordinary incandescent plumage that reflects in the sunlight. These rare species are best spotted in gas cloud flocks at high altitudes or over recently fertilized farmland. If you do encounter one on the ground, however, emptying a nitrous canister nearby will initiate its vivid display. These can be acquired from custom car garages or contact us for our private list of birding dentists.
NB. The guide does not encourage nitrous use for anything other than bird watching. We do not support the ‘laughing birders’ organization.

Bomb Sparrow
Highlight: designed for explosives detection

Description: Originally developed to signal the location of explosives labs, Bomb Sparrows flock in elaborate formations marking the atmospheric presence of chemically dangerous concoctions. Typically very difficult to track down, their formations are dispersed very quickly by British intelligence; making clear sightings quite rare. Your best chances are in the outer suburbs or anonymous tower blocks. If you are lucky enough to see an actual detonation, Bomb Sparrow flocks are extraordinary. But be careful: mixing your own chemical lures may result in prosecution under the Prevention of Terrorism Act.

Trumpeter Finch
Highlight: Sings in the presence of concentrations of carbon monoxide.

Description: This species typically makes its nest along busy highways and main streets. Listen out for the high-pitched song of the Trumpeter Finch when airborne particulate levels reach toxicity thresholds. Go in an SUV convoy for the best chance—and pack a gas mask to hear their song up close.

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Liam Young, 11 03 10


This is the second installent of a series of projects to come out of our Power of 8 research trip to ‘Acres Green: The Way Life Should Be’.

…the hypnotic dance patterns of small, glowing insects against the warm colours of the dark sky left us in awe, and we wanted to know more. We stopped two people dressed in large netted clothing walking down the street. They introduced themselves as ‘hivers’ and told us the story behind these mysterious creatures:

These glowing creatures were the Beamer Bees or Beamer Signum Apis Melifera, formulated by a community of biologists and hired bio-hackers to service under-pollinated trees, plants and vegetables due to the disappearance of honey bees.

The Beamer Bees are guided by radiowaves and electromagnetic landscapes to crops requiring pollination. They are produced in a limited number each year, and their interactions with the bumble bees and other creatures are tightly monitored. It seems that the Acres Green residents can buy licenses to call the bees. License holders use the bugles or other personal mobile devices which transmits radiowaves that the bees can detect. The bees follow the waves to their source.

We realised how the Beamer Bees had became central to the Acres Green ecosystem and people seemed to be able to live in harmony with them. We see a glimpse of one family’s everyday interactions with the new creatures. Practical, yet stylish netted fashion ensured comfort on the way to a party, Gardeners who missed out on licenses opportunistically used wifi routers to attract bees to their plants. (more…)

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Liam Young, 09 03 10


The first installment of an ongoing project.  Chapter 1: the electric aurora.

In the preface to his 1957 bestiary ‘The Book of Imaginary Beings’ Jorge Luis Borges describes a child’s first visit to the zoo. With wonder and joy the child marvels at the strangeness and mysteries of the unfamiliar creatures that they have never before seen. This encounter with a zoo of the real sits within the catalogue of a zoo of mythology, inhabited by ‘necessary monsters’ which are imbued with the dreams and fears of those who conjured them. (more…)

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Liam Young, 08 03 10


Darting to the safety of the shadows a biotech ferret munches on its prey…

The fourth installment of an ongoing project.  Chapter 4: the Bioluminescent Billboard, the Roving Forests and an Augmented Ferret. (more…)

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Darryl Chen, 04 02 10


Urban heat islands? Sink estates? Windswept alleys? The Mobile Mountain solves all your urban problems… for a limited season only! Read on to explore TTT’s latest riff on microclimate infrastructures…

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Darryl Chen, 04 09 09


This project witnesses the result of the London Borough of Sutton’s desire to form England’s first “sustainable suburb” in the outer reaches of Greater London. What was first a twinkle in a councillor’s eye led to Sutton’s local government to write a policy document safeguarding Hackbridge as a showcase of carbon-positive living at the scale of the urban district. Sped by compulsory purchases and decanting of a small handful of resistant residents, the process gained more and more momentum until the milestone formation of the Green Grass Management Trust. First functioning as a para-governmental management arm of the fledgling district, the Green Grass MT gained in stature to be a renegade local government in its own right. As more and more people signed up to live within the confines of the newly established urban Ring, the Green Grass MT became less reliant on government subsidies and eventually became untouchable as a political entity, much to the quiet chagrin of local planners and councillors. Officially a special policy area under the umbrella authority of the borough, the Ring is now in actuality independent and self-sufficient in all respects.

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Darryl Chen, 03 09 09


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Darryl Chen, 02 09 09


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Darryl Chen, 29 08 09


“Where The Grass Is Greener” documents a radical alternative in contemporary living, an urban infrastructure, a social experiment, a political statement…. Three thousand residents and counting. In London’s outer suburbs, a community has gathered walling themselves off from the rest of society. These postcards bear testament to their vision. (more…)

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Liam Young, 20 04 09


The role of landscape is evolving. Developing from a historical position based in conservation and preservation the ‘nature’ of ‘nature’ can now be seen as both generative and dynamic, offering the potential for new ways of engaging with the environment. The distinctions between technology and biology or the natural and artificial are dissolving to the point where they have now become outmoded terms.

Developing from Tomorrows Thoughts Today’s urban proposal ‘City Zoo’, ‘make me a mountain!’ is a standalone infrastructural landscape project.  Whether deployed in a backyard, on a football pitch or a fragile wetland the building mutates from its context to create a habitable ecosystem that (e)merges into and out of its site. More a wilderness than an architecture, ‘make me a mountain!’ operates as a synthetic organism, reinforcing the metabolic and symbiotic conditions found in the surrounding landscape.

In its first iteration the project is tested as a Bathouse, Visitor Centre and Research Station for a London Wetlands site. Like a scuttled ship molded fiberglass shells containing observation, education and research spaces perform as an artificial reef. Glistening from within the rough and lively rock of the artificial mountain is this intertwined set of sinuous and smooth public spaces. This is a dark, discovered, augmented wilderness embedded with technology for remote virtual bat viewing and arranged for intimate but unobtrusive onsite observation. (more…)

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Darryl Chen, 06 04 09


In the outer suburbs of London, a population has voluntarily separated themselves from the rest of society, and has taken up the mantle of sustainability in an extraordinary way. Driven by a set of ethics that places them in sometimes radical opposition to the rest of London, they have adopted a lifestyle that effectively makes them a carbon sink for the remainder of the city.

Postcards bear witness to how existing geographical patterns have been consolidated to create a giant infrastructural ring containing a series of productive and social programmes. Comprised of terraforming, hybridised architecture, natural obstructions and electronically surveilled barriers, this sophisticated urban crust is a new kind of urbanism – a fortress that protects a community of carbon-positive altruists, and reserves a place within the disorderly fabric of suburban London for pure ideology… where the grass is greener.

‘…where the grass is greener’ by Tomorrows Thoughts Today will be published in full shortly.

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Liam Young, 08 12 08


The third installment of an ongoing project.  Chapter 3: the Silk Factory.

Pulled by moths an automated nomadic silk factory is spinning its glistening web under a lonely streetlamp. (more…)

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Liam Young, 02 11 08


The second installment of an ongoing project.  Chapter 2: the CO2 Scrubber (more…)

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Darryl Chen, 27 07 08


 

Barbicanism and its Errant Child refers to the critical process of urbanism as the city makes and remakes itself, and more specifically to the Barbican as a potent reference point. This project is for the Bishopsgate Goodsyard, a long vacant site in London’s inner city. The Barbican’s own ideals, aspirations and current state of post-pubescent maturity indicate how one might go about developing a large brownfield site on the fringe of the highest concentration of financial capability in the world. (more…)

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Liam Young, 21 07 08


 

Contemporary cities are no longer just accidental homes for animals that have been displaced from their natural habitat. They can now be seen as hotbeds of evolutionary change, shaping the adaptations of their resident fauna and providing an ideal theatre in which to see behaviour evolving at a pace rarely seen in the wild.

As we begin to view our cities as worthwhile ecosystems this project investigates the possibilities of a symbiotic relationship between two different systems of organization- technology and nature. (more…)

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Liam Young, 21 07 08


Barcelona and the satellite city. Rethinking growth: Hyper-density and relational equilibrium

The project has recieved an honorable mention in the AA Prize for Unbuilt Work 2008

 you can view the reults and other entries here

This international architecture competition entry responds to a call for the rethinking of growth given a projected migration into the Barcelona region of 400,000 people over twenty years. Outcomes of the speculation are demonstrated into specific sites in Barcelona and the satellite city of Amposta, 2 hours from Barcelona by very fast train.

(more…)

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Liam Young, 21 07 08


view from river

Design competition for a residential / commercial tower, podium and U2′s new studio. The project was imagined as the centre piece of the Dublin docklands regeneration. With Jennifer Chen and Andy Chen.

view the project online at IrishArchitecture.com

It was proposed to fold the city streets, the public spaces and parklands of the docklands campshires, from an active engagement with the river, up through the height of the tower. The trajectory between the river and the stacked program of the tower is facilitated by a continuous ramping. The network of precast ramps provides circulation between the floor plates and is utilized to transfer loads to the structural skin. The spiralling public route, which facilitates programmatic exchange, forms the silhouette and image of the buildings as a new marker on the skyline. The vitality of the tower is seen through and across the buildings own ‘songlines’ and provides a fitting notation for the collision of future aspirations and industrial working heritage within the docklands regeneration. (more…)