LIST OF APPENDICES
CHAPTER 1 INTRODUCTION
3.3 FICTION .1 Introduction
3.3.4 Architecture of Dystopia
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Figure 4.6 Tyrell Corp. Building from the 1997 film ‘Blade Runner’ [Source 3.bp.blogspot.com].
Figure 4.7 Establishing scene from the 1997 film ‘Blade Runner’ showing the contrasting architecture, one megalithic and the other fragmented and hybridized [Source: i6.minus.com].
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Figure 4.8 Concept art by Daniel Dociu [Source: www.tinfoilgames.com].
One can see in Figure 4.6 another example of powerful architecture; the Tyrell Corp.
building stands above all else both in height and mass, but when one looks closer there is also a high level of detail and order to the façade. The architecture of this ziggurat like building establishes a clear contrast of power between it and the rest of the city which is made up of hybridized architecture; industrial chimneys tower over environments that fuse the neon glow of bustling china town with the architecture of a 1950’s American city.
The image of a more hybrid and fractured architectural landscape is quite popular in dystopian images and can be seen in figures 4.8 & 4.9; the fractal landscapes perhaps resemble the roofs of shanty towns or favelas which are familiar to the viewer as ‘bad places’. The architecture is one that speaks of resistance; it has the aesthetic that it is home made in an attempt to fight against the current situation.
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Figure 4.9 Concept art by Hovig Alahaidoyan [Source:
undertomorrowssky.liamyoung.org]
Figure 4.10 Illustration by Lebbeus Woods, fragmented form as architecture of
resistance [Source broadmuseum.msu.edu].
This idea of resistance is familiar point within architectural discourse and was a main theme for, the architectural theorist, Lebbeus Woods. One can see a clear similarity between Woods’ work and that of Dociu or Alahaidoyan which highlights the importance of resistance within dystopian architecture; the resistance between binary forces: disordered against ordered, understated against powerful, naturalistic against industrial and so on.
There are also some architectural
movements or styles that are often used when depicting dystopian architecture;
the notion of order which refers to classical architecture has been
mentioned already but there are a few more. An example would be gothic architecture like that used when depicting Gotham city [in batman] which uses sharp vertical
elements and gargoyles to create a rather sinister image. On the opposite end of the spectrum there is the use of modernist architecture when depicting the utopian
elements within the dystopian story. An example of this would be the floating house in the film ‘Oblivion’ [2013] which acts as a perfect, white, shining beacon of safety;
contrasting the broken world below. In a critical dystopia there is the hope, the small element that subverts the overall dystopia, Oblivion has this element of hope; within the decaying dystopia there is a small natural oasis that has within it a small log cabin.
The cabin in the film is a very simple form of architecture that is full of romantic
imagery and acts as a repository for the memories of a better time, memories that are not meant to exist within the dystopia, making it architecture of resistance once again.
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This brief look into some of the architectural characteristics within dystopian fiction shows that there are many tools within architecture that can be used when creating a dystopian narrative; it also shows that the idea of resistance within the architectural expression is a central part to the way the dystopian environments are portrayed.
To conclude this section on fictional dystopia one can say that dystopia has captured people’s imaginations for a long time and has therefore developed into something that can be used or perceived as a positive force for change. The critical dystopia which has been identified to be the more contemporary dystopian narrative is perhaps the pinnacle as a literary force for change; it is a narrative that warns the reader of their own shortcomings and creates a sub-narrative that leads them from a bad future to a better one, it creates hope. This partially answers the question of how dystopian imagery can lead people towards a better future but has yet to cover how it may be accomplished through the medium of architecture.
This section also highlights the importance of a story that is relevant to the reader, which he/she can relate to, as well as the importance of open-endedness such that the reader can make their own conclusions; this once again begins to show ways to
maximize the effect of the dystopian image on the viewers and therefore maximize the effect on public awareness.
The architectural possibilities that come out of a critical dystopian story are truly fantastic; strong contrasting imagery and styles that are crucial in creating the setting [binaries]. The main aspect of the architectural expression though is the notion of resistance and power; an opportunistic form of architecture that stands against the powerful form and the dystopian environment. This serves as a way for architects to design within a dystopian theme and context which was also one of the research questions; Science Fiction can provide design characteristics for dystopian architecture and more specifically, critically dystopian architecture.
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