Architecture - Honours
Developed throughout semester 2, De-Linearity is the final architectural representation of the loss of identity of the working class, and their struggles under a systemic regime that they are convinced is in their best interests. Drawing from the architectural writings of Adolf Loos and the theoretical writings of Jean Baudrillard, De-Linearity is an attempt at making architectural monument on the grandest, most functional and locally representative scale possible.
De-Linearity is the final architectural representation of the loss of identity of the working class, and their struggles under a systemic regime that they are convinced is in their best interests. Drawing from the architectural writings of Adolf Loos and the theoretical writings of Jean Baudrillard, De-Linearity is an attempt at making architectural monument on the grandest, most functional and locally representative scale possible. Acting as a beacon, the building seeks to simultaneously be ominous and welcoming, a consistently open and bright refuge in any condition, in any moment of despair.
Aimed at holding media, union and working-related entities to account through public propagation of the building’s curious, and no doubt in many cases disagreeable, presence on Brisbane’s urban fabric and specifically in its heritage-rich context. The building is designed to act as a tool of propaganda in itself, operating on the notion of its presence being so questionable that people learn of its purpose, and therefore its reason for existing, that they seek to either enter, research or both. The question “Why does it exist?” is the worst nightmare of a functional building in most cases, however in a case where a building’s very existence is to represent a problem that the average citizen may not recognise, or know about – is the best possible outcome. Also seeking to explore the ideas that are demonstrated in other art forms such as Leyland James Kirby’s Everywhere at The End of Time composition and accompanying artwork by Ivan Seal, an exploration of loss of identity through the decline of human memory and ability to perceive objects – a fitting match to the building’s lack of discernible form or intention.
Acting as if it were a hollowed out shell of a building that once stood, crystalline skin melting over its blank but textured facades as if it were bleeding – De-Linearity is a shameless and ruthless attack on modern socio-political networks and how architecture in context has propagated these systems against the common person.
From its initial conception, De-Linearity had a set of core ideals not only theoretically (shown following this section) but physical – these remained mostly consistent throughout development.
The building aims to challenge the now-ingrained virtues of a system that constantly works against the working class but simultaneously convinces them it is for their own benefit. It does this by operating as its own source of propaganda, challenging the public’s opinion by means of its own visual polarisation and therefore seeking attention and gaining merit through this. It is an architectural intervention of “any publicity is good publicity” only its publicity aims to inform the public of its intent as shown in these diagrams.
Interested mainly in the way architecture can simultaneously complement and offend its given context, his work twists aims to polarise often in order to obtain a greater contextual purpose. Royce has worked in residential and small scale commercial design, architectural visualisation and branding since 2019 while undertaking the Bachelor of Architectural Studies.