THOMAS McLUCAS

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   Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial |



A duo show with William McLucas. The installation at Art in the Docks was focused on the imminent transformation of Beckton, documenting traces of the gasworks on the land pending development. The project preserves fragments of this urban industrial relic, through digital scanning, site casting, found objects and film, to create a hybrid archive of the landscape in its transitional state, suggesting speculative pasts and futures. The installation fostered reflection on our evolving relationship with place, through the monumental shifts in the city’s post-industrial landscapes to suggest a qualitative and affective approach to fill the amnesic gap between hazy scenes of early 20th century labour and today’s mixed use developments.

This exhibition was part of Newham Heritage Month with support from the National Lottery Heritage Fund

Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus |



‘Interrestris Macrocosmus’ is a speculative Latin phrase, describing the ‘universes between earthly things’.

The exhibition addresses how we interface with digital landscapes. Rather than treating the tangibility of hyper realistic scenes, whether computer or oil paint generated, as ornamental, we believe it to be worth considering the consequences of the act of world-building, and our perceived proximity to the world rendered.

The works in this exhibition create new unearthly landscapes through re-embodying the act of physical craft while working in digital media. Through painting, choreographing, and sculpting a route from tactility to tangibility these artists reveal their relationships to physical environments, grasping the ephemeral and rendering it material in digital worlds.

Designed and Curated by Tom&Tom (Tom Hunter and Thomas McLucas)

Participating artists:
Camille Dunlop
Gabriel Good
Xinming Cai

Liminal Archive | Liminal Archive | Liminal Archive | Liminal Archive | Liminal Archive |  Liminal Archive |

In this collaboration with Limbo Accra, I designed immersive digital experiences using a 3D scanned archive of unfinished construction projects in West Africa which Limbo Accra have been collecting. These buildings represent grand visions of incomplete futures. In bringing these buildings to life through film and video games, and presenting this phenomenon to new audiences, we aimed to flip the narrative on these sites, presenting their opportunity. This work has now been shown internationally including at the Sharjah Architecture Triennial, the Akademie der Künste in Berlin, and Chicago Architecture Biennial.

The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting |

On this project I created visualisations for speculative design agency Superflux alongside their internal team based on collaborative research between Superflux and King’s College London. We created a techno-mythic frieze on the Strand, using a 3d modelled environment and AI generated assets. The piece speculated on a time of ecological abundance, envisaging a just transition in London for human and non-human agents.  

These visualisations have been installed at a large scale on the Strand as a speculative reflection of Somerset house.    

 Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina |

The project is concerned with the intersection between architecture and technology as a means for social reproduction. It challenges the contemporary state’s reliance on AI and the promise of technical resolution to socio-political issues. This is explored in a Finnish context focusing on the tension between the constitution, which conflates the privacy of the home with data privacy, and the state-sponsored AI program, Aurora AI. The mass housing system developed by Puutalo Oy in the post-war years is used as a conduit to describe the algorithmic logic of systems like Aurora and their flattening, normalising effects. The resultant proposal is a speculative future within which a designed algorithm infects/disrupts the Aurora Puutalo housing model, emanating from the data disturbances of an individual sauna and eventually taking over in Marttila, a suburb of Helsinki.

Developing methodologies of architectural masking and glitch, the project uses various methods of data-bending in order to create disturbances to undermine the normative and idealised vision of Puutalo Oy. The starting point was using the sauna as a typology to sit in opposition to this model housing. The sauna contaminates the image of Puutalo Oy and resists its normativity.

See an in depth project overview here  

    

Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance |


Contemporary wearable devices tap into more than quantitative data. The emotional attachment to the processes of homeostasis reflect our proximity to our bodies, and thus the mediation of these processes through wearables change our relationship to our natural senses. The changing proximity to the extraction of our bodily data describes a new form of emotional capitalism.

The project opens the black box of proprietary wearables and displays associated technologies spread across the body, making explicit the body being mined. The resultant device establishes a connection across the body, between ECGreadings and bodycam imagery. The device takes readings and photographs the user’s surroundings simultaneously, highlighting actors within around them. This acts as a clear trade-off between surveillance and sensing of the self. Surveillance technology in this instance acts as a way to recontextualise bodily readings, connecting statistics to a time and environment. The data collected is stored openly online, devaluing the information through accessibility. The process both reclaims the user’s biometric data but also appropriates images of other bodies, placing the user in the position of both mined body and platform.

The collected data is exhibited in a performance of the device. The strength of electrical heart signals modulates the user’s environment. The bodycam imagery and collected biometric data are reunited with the body through a projection which acts as the final transformation of the data.

Performance here  

   

Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction |

This project, Platform Jurisdiction, is focused on the platformisation of border control. It is imagined as an archive and exchange for media generated by displaced people attempting to cross the channel and those within their support networks. The proposal is scalable through a series of interventions which I have divided into four phases.

Through a focus on the English Channel I investigated physical border infrastructure and government policy in order to understand how a digital hostile environment functions as part of a larger border apparatus.

Calais is a hotbed for the generation of media relating to migration.  Stakeholders project contrasting pictures of life along this border. In June 2021 a TikTok video went viral, showing an overcrowded dinghy full of people speeding across the Channel. The content was similar in appearance to any of the supposedly journalistic reporting in the Channel the year before. The only noticeable difference was that the camera was in the hands of a migrant. Priti Patel sent a letter to social media companies calling on them to remove ‘posts which promote and even glamourise these lethal crossings’ calling them ‘totally unacceptable, the argument being that ‘they encourage others to leave a safe European country and put their and their family’s lives at risk.’

The frequency of the forms which make up the physical security infrastructure at the Port of Calais offers the possibility of interventions which hack these structures in a manner which is scalable through repetition, allowing sensitive data to transverse this border.

In developing this phased approach I aim to suggest a speculative proposal which adapts to the temporality of the conditions along the border and reacts to the choreography of movements across the border.    

Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar |

DWA & Co was a collective comprising three University of Westminster alumni (Alexandru Oltean, Jay Patel and myself) and current University of Westminster senior lecturer, Dr Victoria Watson formed in 2020.  

Our competition entry for ‘The Last Nuclear Memorial’, was situated on Kasputin Yar, a nuclear weapon and rocket development/testing site in Russia. The intervention reimagined the site as a nuclear waste storage facility, uilising the site’s geometry as a logic for entombing nuclear waste. This plane was interupted by a disk shaped object, presenting as something not of this world. Internally the space was mirrored to produce the effect of an infinite bubble chamber (a nuclear testing device). This hard contained exterior and seemingly infinite interior allude to the containment of peternatural nuclear power.    

Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure |

The project, designed as A Pilgrimage from Pig to Philosopher King, addresses the notion of an urban pleasure garden through Plato’s Republic. In Greek society cities were centred around holy sites. The 19th-century saw culture replace religion in much of western society, hence museums took the place of religious architecture as epitomised by the allusion of the Natural History Museum to a ‘cathedral of nature’. The project is perceived as an altar accommodating the pleasures/vices of the characters who degrade Plato’s perfect society into four imperfect societies and manifest themselves as debaucherous activities apparent in the English pleasure garden. The altar is split into two halves, a monument which sits above ground and its contemporary reading located below ground. A Platonic schedule of accommodation occupies both halves. These consist of a timocratic maze, oligarchic betting den, democratic speakers’ corner, tyrannical brothel, and archive for the philosopher king.

The project treats Albertopolis a ‘holy site’. It is designed to accommodate the mortal characters of Plato’s Republic (aspects of which exist in all of us) rather than the divinities of semester one. The architecture is imagined from relics of 18th century typologies from the English pleasure garden as well as relics from ancient Greek art and architecture. These relics serve as the physical embodiment of civilisations at a moment in time. This attitude towards the preservation of culture comes from an 18th&19th century antiquarian mindset, one which saw ancient art and mythology inform their ideals, easily seen when aligning ideals of beauty which we have inherited from that period with those of classical sculpture. This manifested itself architecturally in revival buildings, where historic aesthetics were adopted. My project borrows from this language and by contrasting classical and contemporary elements which instigates an anthropological study of how our culture and civilization has been informed by these ideals which were in turn informed by ancient culture which they imported as part of their expansionist programme.    

Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai |

This salon is a group of three spaces. These spaces are designed in the spirit of three minor Hellenistic gods, three of the nine muses, Thalia, Terpsichore and Urania. The project critiques the Natural History Museum by using ideas from the Birth of Tragedy, through the perspective of characters from antiquity the project focuses around themes of civilisation, high culture and chronology. The project is set in a distorted timeline where Greek gods, Victorian nobility and modern tourists interact.

The three interventions are set in the Bacchic ruin of the Natural History Museum, which becomes the garden in which the follies can be orchestrated. The mise-en-scene resembling that of a picturesque painting, the Roman Campagna or Tintern Abbey.

The museum has been flayed in this way as punishment for presenting an overly picturesque vision of nature. Flaying was a common method of torture in Greek mythology, often in response to undermining the gods, as can been seen in the tale of the satyr Marsyas who challenged Apollo to a musical duel. As Hellenists worshiped pantheistic gods, divine embodiments of aspects of nature, censoring the ugliness and wildness of nature, taming it for display as part of a controlled carefully careless picture, 18th and 19th century methods of natural representation and study are sinful. These picturesque ideals alongside scientific truths conjured by the dominance of visual study at the time were at odds with one another and the museum became an embodiment of this.