Third Year | Second Semester Project
Created in a studio focused on looking at anything but casinos to build a casino, Fracturing Gambles approaches the casino through the dissemination of cinematic elements into architectural qualities. Simplifying the research done from cinema, four areas were focused: composition, color, light, and transition. From these four cinematic elements, Fracturing Gambles is materialized into a casino devoid of most traditional casino qualities without losing its functionality.
Presented only through video and plan, the video acts as a trailer, a preview, for the atmospheric and material qualities in the casino. Concrete walls are the structural aspect of the casino, while bands of red and green create lanes for traffic, energy, and conflict. The lights dance and create unfocused, bright spots (bokeh) on the floors and walls. The first scene is heard through the sounds of daily city streets, while the second scene has sounds coming from town squares and plazas.
The full plan diagram consists of many layers on top of one another: structure, furniture, finish, and RCP. While some areas are clearly legible, the areas of density exemplify the chaotic nature of human use within the casino space. The forms of the spaces were created by first taking a ratio of 1:1 and 1:2 and applying it to the lengths and widths of the square spaces. The progression of changes in these spaces creates an infrastructure similar to a city. Once the infrastructure (walls) is laid in place, cinematic elements (representing the chaos of life) begin to dissolve the infrastructure. The video is a solid representation of the stillness of the infrastructure, while the plan expands on the dissolved-state of the casino infrastructure. Through these dissolved spaces, there are opportunities for programs to bleed through other spaces, connecting exterior spaces to interior ones. The colored bands in the video are represented here as striped patterns. This material approach further connects spaces, encouraging movement along these lanes, and promotes conflict where bands begin to overlap and smash together. Finally, the lights inhabiting the spaces behave similarly to bokeh, a cinematic element where unfocused lights in-frame create these soft circles of lights. Taking inspiration from how lights in the city appear as bokeh in birds-eye-view, the lights highlight active spaces and moments where much of the chaos occurs. The centered space has a grid of track lights, allowing for this bokeh to move and transform according to what is occurring within this central space/plaza.