238
239 M ARCH
M ARCH
section 1/64”=1’-0”
HOMA FARJADI
[3]
HOMA FARJADI
The project takes two radical texts from late ‘60s and early ‘70s with two radical methods of thought transpired from opposite sides of the world. Andrea Branzi and the Archizoom Associati in Italy and Kiyonori Kikutake and the Metabolist movement in japan. In Branzi’s “No-Stop City”, architecture is described as a medium “where technology & nature [are] not harmonized but merged together.” It is “a high-tech Amazonia within which all functional zonings are accumulated and dissolved.” Concurrently, Kikutake’s Ocean City is “[a] dynamic reality where what is needed is not a fixed with a static program but rather one which is capable of undergoing metabolic change.” Individual, programmatic identity is rejected for multifaceted pluralities that create qualities of limitlessness through uniformity. The goal is not to seek a singular object, but instead an infrastructural logic that is flexible, accommodating, and has the potential for growth. Mass repetition of spatial conditions will unshackle the users from the tyranny of “a positivist linear notion of modern progress.” The formation of the infrastructure is meant to be adaptable; unlike conventional methods of city planning. It follows an “expand as you need” notion, where the demand for square footage is the primary driving factor for its location and intensity. The method of construction mimics that of any contemporary bridge making. Caissons are first created as foundations for which columns are erected upon. These columns serve as footings for cranes to transport supplies to where their needed. Finally, radial reinforced concrete platforms will extend from one structure to another, thus forming the template of a city. Amongst the field of disks, there lies the “hidden” slabs. Exteriorly, they appear to be no more than thickened versions of their surrounding counterparts. It is only from an internal point of view do they reveal a whole plethora of different worlds. Pools, museums, performance halls, and gymnasiums all become concealed compartments of a city as an archive.
CRITIC: Homa Farjadi
ADVANCED' 704
ADVANCED' 704
STUDENT: Seung Bae Max Hsu