.CONNECT

.IMAGE GALLERY

Introduction

What is the family today and what could it be? The conflicts of Modernity, from laboratory-assisted reproduction to European Islam, revolve to a significant degree around the transformation or conservation of particular biosociological arrangements, of family models. The globalization of Western design forms has also meant a globalization of dwelling programs originated for a historically contingent nuclear family structure. We argue that the mismatches between architectural conventions for the habitat and the multiplicity of biosociologial realities are severe. This studio will explore other possibilities by attempting to accommodate one particular, highly idiosyncratic client condition that would be entirely unsuited to a conventional home. In this we hope to pick up some of the remaining trace signals left over from a previous era’s interest in using architecture to model new, progressive families, family spaces and biosociological communities in contemporary cities. We will absorb both the optimistic and progressive as well as the menacing and dystopian, and for this studio, will liberally apply precedents from all of these. Living in an era of images and effects, we easily confuse movies with reality, and design our studios accordingly. One sign of a generalized apocalypse culture is the popularity of Zombie movies. Their discursive symbologies are rich: a panic over the instability of the human body in the face of new biomodernities, a seething class/race warfare latent in a unstable and degenerate political economy, the end of history through an untethering of social bonds, a loss of meaning within the collective body now an autonomic consuming horde, etc. etc. all told through the parables of cannibalism and very specifically symbolized architectural defenses, such as dead malls and dark basements. What could be better? We are also interested in the continued liberation of the formal stylistic language from Bubble Culture. Post-Bilbao, the 00’s saw the unfortunate enrollment of architecture in the service of delusional speculative capital, and of the blobular (convolution, involution and continuous surface geometries) as perhaps the signature style of this culture of false luxury. The recent studio conducted by me has been working in different territory --an exploration of far darker themes and less concern for the provision of flattering elegance-- and it is critical that we act in this historical moment to strongly differentiate it from the brand baubles of the big bubble. In this we hope to pick up some of the remaining trace signals left over from a previous era’s interest in using architecture to model new, progressive families, family spaces and biosociological communities in contemporary cities. We will absorb both the optimistic and progressive as well as the menacing and dystopian, and for this studio, will liberally apply precedents from all of these.Living in an era of images and effects, we easily confuse movies with reality, and design our studios accordingly. One sign of a generalized apocalypse culture is the popularity of Zombie movies. Their discursive symbologies are rich: a panic over the instability of the human body in the face of new biomodernities, a seething class/race warfare latent in a unstable and degenerate political economy, the end of history through an untethering of social bonds, a loss of meaning within the collective body now an autonomic consuming horde, etc. etc. all told through the parables of cannibalism and very specifically symbolized architectural defenses, such as dead malls and dark basements. What could be better?We are also interested in the continued liberation of the formal stylistic language from Bubble Culture. Post-Bilbao, the 00’s saw the unfortunate enrollment of architecture in the service of delusional speculative capital, and of the blobular (convolution, involution and continuous surface geometries) as perhaps the signature style of this culture of false luxury.The recent studio conducted by me has been working in different territory --an exploration of far darker themes and less concern for the provision of flattering elegance-- and it is critical that we act in this historical moment to strongly differentiate it from the brand baubles of the big bubble. The studio proposed to re-examine the possibilities of form generation as an autonomous entity. In the context of these conditions, the studio focused in the generation and production of mutant micro-behaviors that would accumulate to create species from systems. The studio will explore the predominant effect of this ‘isomorphism’ being the aggregation of diverse forms of design intelligence into an almost universal condition of image production. Perhaps some might see this as a triumph of superficiality over depth, but it’s certainly also an intensification of the conjectural and fictive logics of design. We see this as a real and complex demand that global network culture makes on producers of architectural content. The building takes advantage of the surrounding terrain and the addition of moats to protect from invading zombies. The house is serperated into a series of seperate volumes, in order to assist in the prevention of the spread of infection, should such an issue arise. Segments are raised or lowered to trasfer people throughout the structure in order to migrate upwards. In the case of infection specific volumes can be ejected from the structure. Lage helium kites fly about the structure, teathered to separate units. If a unit is infected the kite is released, and the updrafts lift the volume away from the structure carring it out over the water. These kite not only protect the house from infection and provide circulation but they also provide the power required to run the structure.