One Drawing Challenge是由Architizer发起的一个线上设计竞赛，当今人们越来越多借助社交媒体，通过提要信息来消费/了解建筑。人们的注意力随着数以百万计的建筑创意在网络上流传而瞬息万变，每个设计师只有几秒钟时间对他人产生影响，这意味着一张图纸需要具备在几秒钟内自行讲述整个故事的能力。对于任何设计师而言，拥有这种表达能力都至关重要。
#OneDrawingChallenge#
设计师可以用一张图来
讲述复杂建筑背后的故事
这个比赛非常自由，只要你根据自己的偏好创建一张建筑图纸，设计本身可以位于世界任何地方，规模不限。它可以采用平面图、剖面图、立面图、透视图或草图等任何形式，描述建筑物的一部分或整体。下面一格带大家看一下2020年所有100名决赛入围者的作品。
We often use architecture to create the environment we want. The more we build, the more we delve into the depths of our imagination, the more we forget about the world that exists around us. The world that we share with beings other than ourselves; the world that gives us the resources to achieve great feats of design. This drawing was inspired by a colorful lighthouse on a San Francisco pier and the beautiful reflection it cast, along with the skyline, in a shallow sidewalk puddle. This drawing flips the perspective. It questions which world is real and which is an illusion. The true reflection of the impact human and building waste has on the ocean is hidden underwater and we splash through without a second glance. Architecture frames how we see the world; it is time we use it to frame how we inhabit the world as well.What is reality? What if we can manipulate all the existential data and create a new world or maybe a new dimension? One that focuses on generating experiences by using various architectural elements as a means of informing space.They exist in numerous forms in buildings where their use may be superficial or functional. However, they have astronomical potential to dominate space and make their presence felt. The architecture, like a well written chronicle stands in all its glory. The romance among the abstract structures, the chemistry can only be discovered by experience.Welcome to a mixed reality space where it navigates between the physical and virtual realms. While the physical exists as a ground condition, the virtual constructs enclosures and thresholds that are at both permanent and ephemeral.They collide and transcend the boundaries of the real world, elevating it into a new reality. New possibilities with no horizons.A drawing of a fictional city. I was tired of all the dystopian vision and wanted to create something that is optimistic yet still ambiguous. It is a scene full of activity and dynamism, multiple stories without a single protagonist. There are many easter eggs and secrets to be discovered every time one looks at it.As I look out into the new world, I see the chaos humanity has caused that lay suspended over the earth. Humans have tried to reach closer to the sky taking their civilizations one step further in their greedy quest to expand upwards. The word ' home’ and ‘land’ has been redefined. Humans now live in a home that is somewhat stationary as well as moving by virtue of a mechanized grid that helps transport each 'home' or 'land' throughout the grid. Humans feel they are free up in the sky, away from the tortures of Earth and by doing so have given back to the Earth its former glory with open, untouched greenery, except the metal columns that hold the whole grid of civilization. Humans are thus isolated in their own land yet not alone, stationary yet moving, in the air but still connected to the ground.Rather than seeing the outside world through the frustratingly tiny pixels of a Zoom video conference window, what if your and my respective worlds immersively collided together? Let's consider a world of overlapping domestic interiors where the virtual surface of a colleague's living room somehow merges with your own physical living room. Cherished memories from pictures on your wall suddenly become sharable. Patterns from wallpapers blend together. Furniture collides. Histories overlap. Perhaps if the call were to last long enough, you would forget whose house you were actually occupying! This image depicts a shift of attention away from our cold and empty, increasingly generic exteriors, into an endless interior completely saturated with history and media.Vanessa Wang Serena ZhangThis project is a non-humancentric design for escape capsules in preperation of the possible floodings in Flushing Bay, NY, as sea level gradually rises in that area. When hierachies are subverted and humans no longer sits at the top of the pyramid, every species becomes co-depended for their own survival in the commune. The project is asking the question about how human and all species could co-live in the changing environemnt. In this design, each soft-shell capsule would contain one human-being and one mangrove plant as the primary residents. With their fate unknown,The human would invest all their effort into the care-taking of the mangrove plant for their collective well-beiing, as only when the plant is healthy and strong enough, it would be able to hook to another unit with its root system, a new community is then born.Today, social distancing has manifested a new definition of ‘together’. The physical proximity of people and buildings have been reduced to the ‘virtual’. ‘Together’ we isolate, ‘together’ we work, and ‘together’ we zoom into the lens of our homes and struggles amidst a pandemic, the intrinsic fight for human rights, and survival of the everyday.
This drawing cuts a section through hexagonal pods that encapsulate our inhabited spaces. The hexagonal shape represents our self-proclaimed strength and efficiency around our designs, the same efficiency that circulated the virus with rapid speed. The hexagonal framework is deforming under the pressure of an evolving reconciliation for how we cope with the virus in our daily lives. Our pods are juxtaposed against one another revealing that we are closer ‘together’ than we think, and that we must act ‘together’ for the future.
The city is shattered by social distancing, whose intestine can be peeped between the six-foot gap. The broken grids, like islands, staring at each other with no interaction or communication. Social distancing pulls the city apart and reveals the dirty intestine, full of racial discrimination and class conflict, hidden under a seemingly friendly face. A painted skin has been torn apart and the essence of cannibalism in this city is exposed. Cannibalism City, it reminds me of a paragraph in A Madman’s Dairy by Lu Xun, “In ancient times, people often ate human beings. I tried to look this up, but my history has no chronology, and scrawled all over each page are the words: ‘Virtue and Morality.’ Since I could not sleep anyway, I read intently half the night, until I began to see words between the lines, the whole book being filled with the two words, ‘Eat People.’”As Banham walks into the battlefield of car exchange, the Turnme market, he hears vigorous interactions between the motorists of Auckland sharing values over the automobiles.
A rusty 1970s Ford calls out his name, peaking at him amongst the chaos of battling, bidding, and negotiation between sellers and buyers. Drawn by the life story of the Ford, Banham purchases the dear loved car so that he can mend him back to health to put to good use.
First of all, the title, Turnme is a compound word of Turners and Trademe, the two most predominant second-hand car markets of New Zealand. The reason for this wordplay is to highlight the unexpected autonomy and free expression advocated in the interactions held during the trading of used cars which includes, the display of cars, negotiation, bidding and most importantly the exchange of sign-value....
In order to survive as a species, today, we have to stay at home. In the last few months, the limits of home became a battleground for our work selves, social selves, sexual selves, creative selves, and other ways we choose to manifest our humanity. This perspective of an imaginary and perpetually changing home emerges as a monstrous amalgamation of our hugely expanded bodies, technology, and built form. The tumor-like forms encroach into the territory of the former clearly defined domesticities and transform the image of what was once a home into the image of a new programmatic anomaly - a place that does everything. After years of socially distanced existence, this home has illegitimately transformed itself into a monster, constantly changing to meet professional, sexual, aesthetic, creative, and other needs of its confined owner.Fire Island: a house, a ruin, a farewell, and a hopeIts red sand, its disproportionate length, makes this a dream place. And there, in that constantly changing nature, a house, an artifice, appears to pay homage to its surroundings. And now, in these months of confinement, said house, said outside world of summer beaches, generates longing and nostalgia at the same time. This is how this image represents said duality, said emotional limbo. In this way, the viewer of the image struggles between feeling hope for the arrival or nostalgia for the farewell. Finally, the house facing the sea reminds us of those sandcastles that we built when we were little. Those castles that evoke the fragility of our artifice, of our race, of our moment, because any night, with the moon as a witness, the sea will rise and erase our castles.Let’s face it: modes of production are being more efficient by the minute and we can’t stop it. We’ve developed 6-axis robotic arms that can 3-D print walls of a home. We’re surrounded by embedded smart sensors and intelligent systems that use our behavioural data to tell us what to conserve and when. Frankly, who isn’t speculating about the future of the infrastructure built by AI architects?
Through the use of Generative Adversarial Models (GAN), we have collected and trained over 500 images of architectural renderings and drawings. This drawing is a collage of images produced by the machine itself, and our personal stitching of an AI-built future entwined with nature.
"Unobtainable Cities" captures the atmosphere of the overwhelming enormity of a future where our lives are increasingly being designed for us, engulfing us in the thought of creating a superior intelligent entity, which ultimately writes our own fate.
Imagine the Year 2050 - 165 miles east of Texas. The National Nanotechnology Initiative (NNI) and N.A.S.A. built its first facility on a 35-acre lot in Lake Caddo called the C.R.O.M.E.T (Center for Research in Outer space Metallurgical Exploration Technology). After SpaceX triumph in 2020, the succeeding years of human exploration of space became a race to all parts of the solar system. With each interplanetary mission, the bureau aimed to discover locally sourced building metals for further study. Space geologist collects all sort of specimens to bring back to earth and bring them in the C.R.O.M.E.T. These catalytic elements are then studied, tested, and harnessed by A.I. through a series combination with local metals aiming to produce new forms of alloys that will yield highly efficient and ultra-strong properties against planetary climate conditions.Hannah Christy Craig FindlayRepresenting our capacity to maintain archaic infrastructure in an overwhelming environment overflowing with waste, occupied by a population complacent to unrest, this drawing is as complex as the topics it alludes to. It is set in one of the 72 decommissioned Atlas-F missile silos scattered across the United States. This drawing critiques the haphazard mismanagement of reusable commodities of varying scales ranging from abandoned infrastructure to recyclable materials.
Through the convention of a section, this drawing shows the activities in the depth of the repurposed missile silo. Figures sourced from The Age of Enlightenment depict radicals productively recycling materials into a built environment erecting towards the sky. Facilitated by the cold war era framework, the occupants build upon their neighbor's successes allowing an innate desire for vertical growth to materialize.
“Pinnacle at White Hill” illustrates a self-contained, covered city at time when the Earth's atmosphere has been degraded to the point that life in the natural environment is no longer sustainable. The caramel sky and red-brown earth visible beyond the protective film of the city cover tells the story of an environmental disaster out of control.
The central portion of the city is free from vertical supports with the exception of the Pinnacle. The Pinnacle is at once the center support for the dome's superstructure, the focal point of the city, and the seat of city governance and management. Planning and zoning is evident in the layout of the public ways, parks, artificial waterways, and building limits. Green space dominates the city and is used as the organizing principal in the layout of White Hill, where recycling and reuse--including air, food and water--is required to survive.
Harpurhey’s Density with Distance (H.D.D) is a testing ground for a new urban typology that turns social distancing protocols into an asset for Highstreet revitalization.
There has been a recent increase of awareness of spatial boundaries within the public realm. Line ups outside shops have become a new, unpleasant, part of the retail experience; and when the lines recede, paint and stickers remain as undesirable decoration to remind us of our new reality. What if we could turn these waiting irritations into memorable experiences and furthermore, integrate spatial distancing measures into an urban aesthetic?
Welcome to H.D.D.
The most prominent feature of the proposal are the three-story, tri-axial sliders, that together line up and consume the street. The sliders pickup and place sitting booths; a new urban system to provide a high-tech, pro-consumeristic solution to our socially problematic reality.
Alexandros Michail VarvantakisThis design proposal revisits surveillance with a mindset that no one shall be subjected to arbitrary or unlawful interference with their privacy and creates a new form of society in which occupants can feel secure.
Queenstown aims to re-evaluate covert responses by proposing an architecture where people can live,work and hide together under a sustainable economic network embodying a primary school, several workshops and factories trying to be fully autonomous.The construction sequence of the proposal is separated into 3 phases and it's planned to be completed in a century from it's start date.
Queenstown philosophizes over several pedagogic systems and aims to illustrate ideas that combined result in an Utopian system of education which forms the foundation of an idealistic society.This speculative proposal is a device,a thought experiment which gives an alternative way of living to London citizens beyond the limitations and the insecurity of the contemporary society.
The Duckpit project is a critical interface for a collaborative reaction on a borderline of virtual and "real", an architectural speculative device for re[dis]covering economical and social glitches in political propaganda. An old ruin in the alternative Sava-Mala district was scanned and so digitally preserved before it's demolition for the Belgrade Waterfront development, a giant ambiguous housing and commerce implant to the heart of the city. Through a fictional transformation of this ruin into a digital-underground art gallery, people are asked to use their voice (click) for a new kind of protest against the capitalist savage sign, Belgrade Waterfront. With the help of an elucidated website this project becomes a digital art installation itself, the subject of a parasite-sabotage from within a structure is introduced and growing with every voice to a governing manipulating virus, which transforms the construction site and so gives the city back to its habitants.Hacking Robin Hood Garden“Hacking RHG” is a testbed showing how gaming can be used as a methodology to explore a different way that residents can engage with architecture. By playing against the rules, the algorithm of the game is turned into a planning system, capable of evaluating the best strategy of the collective bottom-up approach.
Under the strict building and maintenance rules of social housing in London, a lot of brutalist housing prototypes in London is being demolished so as to create more housing stock such as the Robin Hood Gardens. The approach translates design principles into a board game to reimagine, repurpose and reconfigure spaces and materials found on-site. Besides, it also incorporates a variety of building rules, new add ons, informal programs, and a new circulation system to reactive the lost dream “street in the sky” for Robin Hood Gardens.
At the time in which we are subjected to the invitation of isolation, socialization is at risk. People’s true identity has been pulled back behind the media screen and developed a digitized relationship, raising the questions, is the digital-self your true self? Is cyber relationship real? Thus, domestic living and socializing prototype should be redefined. In response, a new home scape - INSCAPE - is designed to reflect upon the challenge between true identity and social relationships.In our site-less Neo-Unité Community, worldwide habitants get a matched housing unit based on their personality. While providing intimate space to be alone, a screen - act as a scape – serves to communicate and exchange emotions anonymously. This "Instagramal Screen" is an digitized interface between co-habitants where they act and react on both sides and develop unexpected relationships. Through inventing INSCAPE, love and care could be unleashed through both virtual and reality.The dearth of affordable in many contemporary city's is an issue many urbanites are uncomfortably familiar with. The problem is ubiquitous, and solutions are similarly scarce. Possibly through implementing a novel development strategy, programmatic amalgamation and unorthodox site selection, a potential solution may emerge: a stacking of collectives. This drawing visually summarizes a theoretical typology that would combine communal living, collaborative design, and collective financing and allow for a number of distinct groups of individuals to occupy a single, co-owned mid-rise tower. These groups (those present in this drawing ranging from frat-boys to a covenant of nuns) would be present from the beginning of the design process and would contribute both financially and aesthetically to their portion of the building. This would allow for flexible layouts depending on desired function and a greater sense of ownership over the resulting building. An urban mid-rise becomes a stacking of collectives.Andrea Zamora Juanita EcheverryThe COVID-19 emergency, together with our consumer behavior, triggered pollution and waste production rates. This catastrophe led to the city abandonment, where buildings became obsolete.
Returning to the ruined city implied rethinking the management of resources. Waste colonization became the strategy to survive reality. In this way, the new territory is shaped by the overlapping of multiple time scenarios where the interrelated layers reconcile conflictive situations.
Here, life is possible due to the existence of new mobility systems developed within the living planes. Bridges allow horizontal passages, while the redesign of Bogotá´s public transport tracks along vertical structures that pivot through the coatings of the new reality.
What used to be is essential for what is to come. Each layer is indispensable for life to endure in the new territory. By decoding the decay accumulated over decades and reconstructing from what is no longer usable, life can develop in wastecity.
The Built Pension is a radical model of a retirement-village that empowers autonomous urban retirees in crafting their very own personalised retirement through a considered spatial methodology.
Instead of defaulting to an inexplicable focus on leisure as the only means of retirement, urban retirees are free to position themselves on a spectrum that best represents their individual dispositions, thereby allowing them to oscillate between the two strands of leisure and profession. This new mode of progressive retirement references the emerging gig economy as the starting basis for a kit-of-parts approach towards employment and re-employment.
To this end, industrial and retired communities sited in Leyton collaborate on a series of retrofitted addendums on the rooftops of existing single-storey masonry warehouses. The concept of the split level is further employed as a central mechanism to negotiate spatial and programmatic datums between the two communities, enacted in a progressive, open-ended fashion.
A Strategy for Tactics on Flooded LandscapesThe building is sited in the Isles of Scilly, but designed for flooded landscapes across the world. The concept explores how a mixture of strategies (top-down planning) and tactics (bottom-up growth) create modular adaptable frameworks designed for self-build and developed by the community.
The drawing is an advertisement that exemplifies what is possible with closed-loop thinking and community activation, encouraging others to build similar spaces. Built-in adaptability hopes to future proof for flooding, allowing the community-driven process to grow to wherever it is needed.
This drawing hopes to play its part in creating the systemic change needed, refusing to cater for the capitalist society that is giving rise to major environmental concerns caused by, or contributing to, the ever-increasing consumption of goods and services. We must empower people to ask what if, providing the opportunity to create a better future than the gloomy reality we are set to face.
Created for a competition for the design of a tech company’s new headquarters, this drawing depicts a central, semi-public space/atrium, where ideas can be exchanged within the company and with the public. Inspired by a modern interpretation of a science fair, the design incorporates aspects of biophilia and sustainability.
The drawing incorporates elements of fantasy, where robots walk among us and interact with humans in a workplace environment (or simply apply condiments to our lunch!). It illustrates the workplace of the future in a whimsical yet practical way, envisioning an adaptable space for working, interacting, and creating.
The Censored Materials ArchiveThe censored materials archive situates in a world full of dogmatic opinions and polarising beliefs. It provides a space for those who are willing to give censored works a second chance by engaging and listening to one's contentious ideas, and in return appreciating the disparity among a pluralist society.
Unlike conventional museums, galleries are linear with no visual connections between them. There is no alternate path, only confrontation. Spatially ambiguous galleries reflect the controversial and disputing nature of the materials. Galleries are only allowed to be entered individually, allowing visitors to examine these works without the fear of being captiously judged. The debating hall is the crucible where bonds are forged and views diverge through presenting censored materials. While heated arguments and candid reflections are conducted, autonomous machines below these galleries work endlessly in archiving and curating censored materials with their non-partisan eyes.
Museum of the AnthropoceneAnthropo meaning ‘man’ and Cene meaning ‘new’ stands for a new age which we have unknowingly entered, but are all complicit in creating. This era is marked by the radioactive elements in our minerals, the nitrogen particles in our soils, and the profusion of plastics in our seas. These bands of materials can be read like a timeline, a narrative of humanity’s actions on this planet over the last millennia. The Museum of the Anthropocene uses the architecture to retell our history in a similar manner. Our recorded past is condensed and expressed through the layering of materials that comprise the museum’s central core. New rings are continuously added in this never ending build. As visitors look up they are able to read the architecture like a book, telling the stories of our great triumphs and even greater follies.Leora Niderberg Larissa ReismannWe imagine a new, fluid landscape in 2050, owing to the convergence of three factors: sea level rise; the death of carbon; and an exponential upward trajectory of human movement/nomadism.In place of the soon-to-be-abandoned oil fields of the Mediterranean, we propose a floating infrastructural ribbon growing out into the sea which is self-generating, self-supporting, and self-sustaining. Rather than biding time in cramped, provisional refugee camps for decades, dweller-citizens may attach their floating homes to this communal backbone freely, and participate in an autonomous and borderless ecosystem based on care and renewable resources. Seawater is desalinated by evaporation and recondensed along the diagonal frame underwater; food is produced at the raised hydroponic level; above-sea level serves as a market and public space; and underwater, just above the pontoons which grant buoyancy, resides a material reuse facility for converting plastic waste to printable raw material for the structure’s continued growth.The drawing displays a design proposal located in a suburb in Victoria, Australia. As one roams through this suburb, they may notice the separation of homes created by barriers such as the wide streets and fences. These barriers encourage a sense of security and privacy for residents, however the opportunity for social connection disappears. In most cases, one may not know their neighbour despite living in the same area for a long time. Therefore, the drawing envisions a new way of living in this suburb. In between the homes is a community garden for growing food. Division of home lots are removed and, each home is organised closer for neighbours to interact more. Instead of homes placed in a logical order, they grow naturally across the landscape. Altogether, suburban living, through the design of the built form, must allow for human cooperation and reliance to exists for a sustainable future.Suspended mountain, supported by the city around it, was hovering over the flat lands in the eastern Ukraine. It was a sunny cold winter day. Aspiring photographer Alesha decided to go out to take sunset pictures of the city he loved so much. It took him quite a while to leave his apartment on platform 2 and get far enough so he could capture the whole mountain and all rings of the human settlement. What he saw was the place of opposition. Regular vs irregular, man-made vs nature-made, horizontal vs vertical and so on. And it was quite windy on the upper platform too!Architecture, engineering and quantum physics all together helped to rephrase the famous English idiom “If Mahomet will not come to the mountain, the mountain must go to Mahomet” which became the motto of the city.My drawing shows architecture as existing in the mind, being the experience and memory of an individual living in the digital age.Today, through the internet we are exposed to many imaginary worlds and architecture is highly visual. Our surroundings and the digital space we inhabit blend into each other. Through images we are exposed to extraordinary buildings from all around the world, however, find ourselves living our lives hardly noticing our close environment. There is also no common agenda on what is good architecture, it is an infinite scroll of endless possibilities.The image reflects the visual nature of the field and would like to encourage to experience architecture involving more senses. It also proposes that to design we first have to make sense of all the information available and construct a ’Mind Palace’ which is worth to build from and build upon.Climate change and other existential threats have exposed the fragility of the European Union’s strength in unity. Might children be the more imaginative champion of their own future to recalibrate the core aims and values of the EU? Could spatial engagements with nature enable them to be self-directive, and be authors of their own learning?
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The project places children in the driving seat of the EU in order to address the global water crisis. The drawing is of the arrival scene at 'EU-topia'; a sustainable enterprise located in Crete, the birthplace of Europe. The hand-drawn perspective examines the thresholds between ideology and pragmatism when dealing with nature, landscape and weather and the children's architectural responses utilise up-cycled loose parts as an encyclopaedia of the their ideas. The drawing captures the untainted speculations of childhood to cultivate symbiosis between nature and built forms to bring freshwater to the world.This drawing was inspired by envisioning a future where nature is allowed to run its course with limited human interference. A great olive tree wraps around the central column anchoring the viewer’s eye before venturing off to the many details of the canal buildings, hot-air balloons and arched St. Peter’s Basilica-inspired roof.
This is no dystopian society; this is a society bolstered by its love of the archaic, as seen in the neoclassical, Baroque and Renaissance influences. This place would be inhabited by adventurers of nostalgia daydreaming of bygone eras, of things un-lived in a world focused on technology.
There is a need in today’s modern world for clean, sterile lines dismissing nature’s organic shape and form so I took a different approach; art and architecture are combined to display that nature and the built environment can co-exist peacefully. This proposal would be located anywhere roots can take hold.
Sanctuary of Disney's Unloved ChildrenDisney has shaped the world of animation with films such as Snow White, Pinocchio, and Cinderella. These films have had global acclaim and generations have grown up influenced by the “magic” of Disney.
On 8th April 1999, Disney abandoned Discovery island, a Safari zoo containing exotic birds and animals. To date, Disney has faced many allegations of abuse and mistreatment of its staff and animals.
Thus this project is an exploration into the “dark side” of Disney and to create a redemption for its forgotten victims. Inspired by the Disney film Cinderella, in which Cinderella’s furry friends construct a dress from the unwanted fabrics and beads deemed as “trash. With this dress, the forgotten will attempt to outshine the “tyrant”, Disney.
Is the world we experience real or an illusion?Modern neuroscience teaches us that all our perceptions must be considered illusions. That’s because we perceive the world only indirectly, by processing and interpreting the raw data of our senses. Our unconscious constantly renders a model of a world exclusively for us. As Kant said, there is Das Ding an sich, a thing as it is, and there is Das Ding fur uns, a thing as we know it.
Individual perceptions combined create the world we live in. Part of that foundation has landed on Wall street. These perceptions can also collectively shake the world. From there, fear and panic can crumble everything else we’ve built. Fear, a behavior which can unfoundedly be picked up socially.
Although when you have everything to lose, it could be considered the same as if you had nothing to lose.
Just hope.
Which is everything.
Dubbed “Redwood”, this series of sketches are pure architectural escapism, testing exceedingly optimistic visions of possible futures, assuming the resolution of base societal issues through exotic approaches (limitless fusion energy, asteroid harvesting for raw materials, robotic assembly techniques). Intentionally fantastical, the intent is to spark imaginative thinking outside of practical constraints of current structural technologies.
In this iteration, towering structures drop into place, akin to redwoods falling in a forest, allowing new structures to shoot upward from the carcass, pulling cabling and piping upward, forming swaths of elevated fields, suspended transit systems stringing between the towering forms, and an endless array of habitats, blurring construction and organics.
While arguably irresponsible to brush aside big problems, its worth exploring, given decades of apocalyptic visions are have not proven persuasive. Taking an alternate approach, encouraging and positive visions might better spark the imagination and inspire consideration for wider timescales and broader solutions.
As a recent graduate during this unusual times, I start my architectural career different than expected.
The worldwide lockdown made people more bound to their houses than ever before. In a post pandemic situation people might ask for a home that includes different qualities. My painting investigates an atmosphere in which the inhabitants can experience a peaceful surrounding. A healthy environment where inside and outside space merge. Natural elements such as the sky, water and the views are decomposed to form a balanced composition with the architecture and inhabitant. The surroundings play an active role in the experience of the space.
I got inspired by architects such as Luis Barragan and Mies van der Rohe. The use of colour is limited to a few tones as a statement of reduction. Nevertheless the colours are more or less necessary to increase the sensation of the place.
Utopia’ depicts a dystopian urbanscape where citizens live and work in large scale steel and concrete mega structures.
The drawing is designed to be explored, enticing the viewer to spend time scanning the detail as they imagine themselves walking around the densely packed industrial city scape.
Drawn using drawing board and rotring pen.
People of the past generation often imagined how the city would look like in modern days. Sleek towers, straight roads, tidy urban fabrics, coherent buildings, massive gardens...
However, our cities look a lot different from the imagination of the past. A city rather evolved with each different story and context, resulting itself to be a massive collage of incredibly diverse characteristics.
Tall and low, glasses and stones, old and new, beautiful and ugly, subtle and distinct, East and West, beloved and hated, construction and destruction, real and unreal...
This diversity, which might seem nasty and chaotic, is in fact, the greatest properties of modern cities that amuse, attract, enrich, and shift our lives.This is the true beauty of a city.
Everything/Nothing Exploded AxoThe thesis explores the vertical expansion of Manhattan within a terrain of ravines that exposes the city’s schist underside that underpins the skyscrapers above. This underground condition highlights Manhattan’s desire to grow upwards rather than outwards.
By inhabiting this new landscape the architecture explores the dichotomy Manhattan presents as thriving off the consumption as an urban cluster (Everything) and its contradiction, the thriving of relief (Nothing). The group schematic proposes three towers of Nothing that interlink through Agora fragments within a network of Everything, dedicated to the strange production of returning Nothing to the city and a weaving Agora that seeks to satisfy the city’s need for Everything.
My tower of Nothing proposes a facility that produces pure oxygen for both research and the city and an Agora fragment that blends the economic flux of commodities with an additional wing dedicated to the political functions of trading and regulating.
Mechanized habitable vertical farm for a COVID generationEveryone is working from home during the COVID pandemic. How is office space rethought to integrate with the housing typology and its integrated systems? Is sustainability inherently tied to conservative building schemes and forms?
This project addresses the growing need for buildings in Philadelphia to be repurposed and reused inspite of increasing unemployment and the crisis of housing shortage during the coronavirus. Despite the rising numbers of unemployment and people's needs to spend money simply on rent, food and water.
The use of vertical space, access to views an sunlight should not only be reserved for the upper class but any low-income population as well. By taking and extruding a volume of 600sqft from the site FAR and twisting it to account for wind forces as well as sunlight in angles round the building and pixelating the facade to increase surface area for rainwater catchment, the resulting form is achieved.
The Metamorphosis of 401 North WabashThis series of conceptual sketches, dubbed “The Metamorphosis of 401 North Wabash”, contemplates a future where the last physical manifestations of a collapsed dynasty is reimagined by designers, fabricators, and artists, implementing autonomous equipment to strip the massing down to its skeletal remains, then reinforced, weatherproofed, and then organically overcome by an upward wave of idiosyncratic housing and vertical public spaces. Ultimately, this is simply about how this new assemblage is clad in layers of wind diffusing materials, sculpted with flowing forms, referencing the serene nature of kites and streamers, sheer panels rippling in the wind, and ultimately images of “Angel Wing” counter protestors, concealing darkness with light forms. The markings of the spent brand, literally carried away down the streets along with the previous cladding, raw materials stripped free for distribution and reuse in neighborhoods most in need, leaving a billowing, glowing, and dynamic landmark in its spot.City of Nothing // Island of Everything : Park Avenue AerialWilliam Bayram Declan WagstaffManhattan as a unique urban context settles itself within the dichotomy of city and island. Its individuality, yet connectivity thrives for greater density as the catalyst of the containment of the strange. This architectural manifestation of estrangement shares a duality between pragmatic and fantastical, thus the city cannot help lending itself to the thinking of both creative endeavours. The containing of this architectural manifold within the restriction of an island splits between the seen/unseen, vertical/horizontal, overworld/underworld comparisons. Here the island finds itself a blended world of consumption, sustainability, cultural and political iconicity. Yet for all the island’s architectural accumulation, what it has to show for itself is non-material, therefore through the consumption and containment of everything, it presents and trades nothing. This thesis seeks to explore this territory of estrangement through two narrative threads of thinking, the Pragmatic and the Fantastical which find themselves at times separate or intertwined.In a design studio meant to challenge originality and content ownership through appropriation, this project explores the mixing of iconic building sections and celebrates their differences. The design of this incarceration facility joins the idea of a traditional prison with a modern university to reduce recidivism rates as a solution to prison overcrowding. Utilizing an abandoned missile silo, constructed during the Cold War, presents unique challenges and opportunities. Elevating the building above the existing structure separates the prisoners from the rest of society and creates the opportunity for a vertical campus. With the goal to inspire and educate prisoners, the design pulls inspiration from Norway’s resort-like prisons, and a documentary entitled ‘College Behind Bars’. The project ties in aspects of biophilia and WELL Building Standards to nourish the mental, physical, and emotional well-being of its occupants. The vibrant and colorful representation reflects the structure’s resort-like nature.The hyper-densification of certain metropolises (especially in Asian cities with uncontrolled urbanisation models) is pushing (if it has not yet exceeded) the sustainable limits of the living conditions of such built environments. This is occurring, to a certain degree, because of the abandonment of large agricultural areas. (Zhang, Li, Song, Zhai 2016) In this context, this project proposes a re-occupation of these obsolete structures of the countryside. Unlike traditional “hard” urban planning devices, a fused affiliation of natural, technological, and human agencies establishes a model of low-human-controlled growth infrastructures emerging from the patterns of old agricultural subdivision. A rabbit hole that demands constant extrication of oneself from my/your/his/her/our/their condition at the top of the pyramid. An ecognostical model of coexistence. (Morton 2016)Imagining a Vertical ForestA tower carved with niches of trees. A monumental piece of architecture and an apparent intelligent solution, pleasing everyone, the egos of architects and developers, their wealth too, but also their desire for a public display of social responsibility. The building shadows the old land-consuming city that paved the path for the relentless earth’s anthropization. This tower aspires to become one with nature, claiming a place among the planet’s remaining forests, and it feels special, fresh. Before it, there were just the mountain forests, the Babylonian gardens, Chernobyl’s abandoned khrushchyovka’s or even the potted flowers on grandma’s terrace. It is made of concrete, earth’s alienated son. Labyrinths of pipes pumping water upstream, for the trees to survive, are an improved version of nature’s streams. The missing fertilizers can be bought in any hypermarket. The imagined architecture is a simulacrum of already built simulacra precariously floating without foundations in illusory perpetuity.The time an inmate spends at the facility is under their control, no matter the crime committed, but under one condition: they must reach the top of the structure.In order to do so, there are 50 levels the inmate must unlock, each level containing an important skill that must be learned and mastered, a fun activity, or something needed for survival. At the bottom of the structure is a massive library that contains the knowledge needed to follow a path to the top.The exploration of new ideas, a new minset, a new perspective and the possibility of a new life is rooted in the imagination. This system keeps the mind and imagination of inmates engaged, as they are always working towards a goal. Inmates have to earn their release and in the process of doing so, are able to gain valuable lifeskils and rehabilitate themselves.Extrapolis: A city for the introvert and the extrovertThis drawing re-imagines the Skyscraper of the 22nd century in a city inhabited by introverted and extroverted individuals. Seeking to energize and have more free space below, EXTROVERTS have small apartments with only beds and a few pieces of furniture, they energize by mingling with others in the buzzling and active open city below. INTROVERTS On the other other hand love to stay at home and stay in their funneled communities above. Their introspective communities have gardens in the middle and the funneled shape protects them from the noise and commotion below. Let our skycrapers be thinner and thinner, to reclaim as much space below for us introverts who love parks and mingling and let the skies be filled with communities for relaxation and introspection for those of us who energize from being in isolation and tranquility above.Figure of the PicturesqueA market. The project subverts the image of the picturesque folly in the landscape, creating a natural figure within Amman. The drawing stems from the notion that man-made structures are often seen as the ruin of nature. Interestingly, the converse is true that when a building turns to ‘ruin’ this is often punctuated by the growth of vegetation within the structure. The project poses that these conflicting perceptions have led to a dichotomy between the two and that through deliberate ruin the two can be synthesised. The project act as a criticism of the way nature inhabits modern cities, especially in the west where plants are often subjected to the object or the picturesque. This effect is emphasised in western planning through its concentration on vista. Through imitating forms of Arabic planning, I can create an inherently immersive and therefore spatial condition that sits between the object and the picturesque.The Minute Before TomorrowShe murmured to me bluntly: you do not belong here. I answered bluntly: I do not belong here. I never managed to package her neatly when we were separated. Because I never had the courage to tell myself that I left, never to be back again. Now I am a shadow of myself, restlessly wandering Earth. “Do you often go back?” I am repeatedly asked. And I lift my gaze to hide my silence. I never left. She lives in me.
Our soul is a shelter. Cities live in us as much as we are in them. They inhibit our memories and tell our stories, they transmute, live, die and glow in our fantasies.
She will rise again, the optimist says. The cynic sees a city in the process of going extinct: Beirut will never be the same again.
POENAPOLIS: A DYSTOPIAN PATH TOWARDS REDEMPTIONSantiago Unda Venegas Sergio BellucciAfter witnessing nature manifesting and taking over cities during the 2020 COVID-19 quarantine, humanity has finally realized the impact we have had over the world’s ecosystems and territories.
Through an international agreement, the human race has decided to live underground in order to try and stop the Antrhopocene’s footprint on the surface of the Earth. The agreement states that every major city in the world must reside beneath the ground for 200 years while the surface recovers from centuries of human impact. Now, the city is an abandoned place and humanity lies below it’s ruins.
This is the “punishment” we have accepted. This is how humanity redeems itself. Will we make it? Will we want to go back to the surface? Maybe we will be eager to inhabit the surface once again. Maybe humanity will forget about the the old city and live in this new underground system for centuries.
The Warehouse of Unfinished IdeasThe nature of the creative process consists of a chain of smaller ideas, tangents, and design iterations. These concepts are essential stepping stones leading to the final output. Some might argue, they are meaningful works in their own right.
I often imagine unfinished architectural ideas archived within a vast warehouse as a collection of physical prototypes and miniature models. They loom in their various scales and unfinished states, waiting for the opportunity to be applied to future projects. These fragments are studied, reflected upon, and referenced. They exist prior to a project's impetus, and remain long past it's completion.
Will these undeveloped ideas lie dormant for eternity, or will they one day have the ability to be deployed to their full potential? Do they truly matter if they are unseen or unfinished? For now they wait, eternally housed within the warehouse of the mind.
View of Apartment #5, a Labyrinth and Repository of Spatial Memories.“Five months have passed since the start of the lockdown here in London. I remain isolated on the third floor.
After many months of being locked up in my apartment, something peculiar began happening…
One day, as I made my way to the washroom, I suddenly found myself transported to another place. It was dark, but I could feel the cold stone beneath my feet. My steps echoed through this cavernous space. I reached for the wall, where I felt the familiar shape of the light switch... I was back in my apartment. I thought I was meandering through the sunken stepwells in Ahmedabad. Another time, I was running my hands on the smooth sun-kissed tiled roof of Doshi’s Sangath, when in fact, I sat in my living room, clasping my warm coffee mug… flashbacks of past times manifest themselves …
My memories had allowed me to escape my apartment.”
Giangtien Nguyen Afreen AliAziz Alshayeb Aminul Karim MasumAt some point in their life, the elderly will stop their journey. The new generation will start their own exploration while carrying the genes of their ancestry. Circle of life is a reality of every living thing. As we journey to the height of our youth, selfishly we look to our personal benefits. During pandemics we excuse ourselves to physically connect for pleasure but forget to look at the consequences. The long climb to success tends to make us forget to look back on the elder generations. If we remember to see them, then we can then see our future.A window over an algae-powered Colliers WoodThis vision references the industrial arts-and-crafts heritage of Merton, London whilst contemplating future opportunities for sustainable energy. It echoes technological advancements made with several microorganisms, like fast-growing microalgae suitable for most types of water which can produce energy, light and heat by absorbing CO2. It is set in Colliers Wood, a suburban London neighbourhood recently densified with new developments in the middle of the extensive sprawl of period houses. By scaling up this symbiotic process, it redefines natural organisms as an active piece of city infrastructure and satisfies our thirst for renewable energy whilst mitigating threats to our ecosystem. This visual critique shows an inside/out approach where the colours utilised merge interior and exterior spaces and where urban opportunities rely on individual responsibilities, imagining a world where energy is produced on natural bodies of water (here the River Wandle, southwest London) as well as personal tanks in our homes.Giangtien Nguyen Afreen AliAziz Alshayeb Erik H KusakaribaWhen our streets became empty and we are isolated in our own homes, humans will feel the need to connect through our digital infrastructure. As our reality becomes more physically unconnected, while our virtual city strengthens in connectivity, it creates a juxtaposition visually between our crowded virtual city and our empty reality.The project starts from the understanding of our cities as a palimpsest, the coexistence of different temporalities that manifests the cities’ continuous growth and transformation. These unending changes leave urban voids, decaying sites apparently forgotten; loaded with what has occurred, but somehow unaware and oblivious to the dynamics of the contemporary city. These "Vague Terrains" as De Sóla Morales defines, are places where nature breaks borders in different scales conquering the void and exalting the inevitable ruin of architecture in time.
This abandoned sites, which may seem completely inaccessible, represent the void as a place with the potential to unveil new ways to address urban renovation. The project aims to reprogram this post-industrial landscape as a hotspot for culture and public life, setting in motion the revitalization of the neighborhood as a new cultural cluster while visualizing how the altering characteristics of the ruin enhance matter and architecture.
The complex was designed in pursuing the development of a innovative museum. The newly created complex serves as a relatively new idea in museology, the Schaulager, which is German for “exhibition/storage”. Throughout history, the disciplines of architecture and sculpture have been enmeshed. Sculpture was once securely associated with monument and place. According to art critic Rosalind Krauss, such an ambiguous territory allows sculpture in theory and practice to occupy an expanded field that includes marked sites, site constructions, and axiomatic structures on the fringe of their compliments of not-landscape and not-architecture. In other words, sculpture can take on specific architectural qualities as well as those of landscape. Starting with analyzing Tony Smith’s sculpture Gracehoper, I am able to explore the combination of labyrinth and museum. The new Schaulager engaged through the manipulation of parameters within their logical praxes. The new museum composed of several classrooms, walking-to see gallery, and auditorium.Sailing in the sea of uncertainty of a pandemicHey, my drawing is the story of how has been working at home office with the COVID situation. The buildings represent a home and a boat, and they are upside down beacuse the pandemic situation has the entire world upside down. In each house lives a family and a member of the office where i collaborate. Each house/boat is sailing in the sea of uncertainty but all of us are going in the same direction as a team that keeps together no matter how hard the situation is. We sail together through uncertainty.
The technique i used for my illustration is a combination of a hand drawing edited in Ps.
Two districts of a fictitious city are separated by a wall. The ecological encalve is surrounded by an industrial cityscape. But the walls are turning. It is not decided yet what the future will look like.Apartment #5, a Labyrinth and Repository of Spatial Memories"In this frightening period of the pandemic, travel has become unsafe and restricted. The future bears uncertainty, if and when we may travel to experience new places, and re-visit places of our past. Places which once drew people are now “indefinitely” and “temporarily closed”, with no certain opening date. We are isolated in our homes…left with our memories of those faraway places. Locked in our dwellings, we long to be able to escape to a past before the lockdown, to places far away from here.
Residing in London, the dwelling curates spatial experiences from a recent voyage to India. Set both in real space and imaginary space, the project seeks to re-create those atmospheres and spatial conditions of the places remembered through memories.
The memories are rekindled, by manipulating scale, forced perspective and atmospheric phenomena of the places. However, they may become embellished, corrupted, re-imagined; a labyrinth of memories..."
The drawing is a top view of a new market designed in Callowhill district of Philadelphia. The market provides facilities of Hemp products. It is designed by building, carving and rebuilding reliefs from defamiliarized neighborhood artifacts. The market is serving the city with sustainable, environmentally friendly and ethical products. It carves its identity in the city as the density of ubiquitous elements while having unique courtyards of rare figures.
The market has five quadrants, each has a mat density of crisscross Cartesian elements which break their own limits and intersect with elements in adjacent quadrant. The main difference between each quadrant are the unique figural artifacts. Functionally, the market operates on four sections. The retail space, industrial section, harvesting area and public gardens. Each program operates on different level. The market has an industrial and synthetic programmatic interaction with the city. Moreover, it inhabits nature by providing urban farming platform.
Frantz Fanon stated ‘the colonial world is a Manichaean world’. This thesis asks, If Algiers, during its colonisation is a world of duality, does this last beyond its emancipation?
The project envisions the reclamation of physically divided territories altering the field of vision from the sea to the casbah, establishing the cities identity and exploring a new architectural typology, inspired by Edward Soja's third space theory.
By deconstructing the colonial belt, existing structures are relegated to the condition of the casbah through ruinisation. The new architectural typologies are then inserted into the voids, as the latter slowly sinks to form the basis of the baths and the gateway leading up to the Casbah.
Vlad Dumitru
The drawing illustrates an architecture designed as a pilgrimage through Steve Jobs’ formative years, with a focus to explore Jobs’ position within frameworks defined by a very specific set of behavioural nuances, dietary habits and counter-cultural, architectural and technological influences. Religious motifs describe a journey of enlightenment following in Jobs' footsteps centred around scriptural overtones, building spaces as manifestations of Jobs' personal myths.
The Jobsville commune functions as a zero carbon emission generator, supplying the larger Oregon area with free electricity. These spaces encourage new experiences, community development and self governance. The search for perfection champions a sense of belonging through agrarian self expression. The “apostle’s” efforts to grow the perfect carrot conclude with a bountiful harvest which in turn is transformed to sustenance and fuel for future activities as carrot and apple juice becomes electric power.
The city will swallow us wholeA wave made of 'liquid' skyscraper rises behind a man as he walks through a 'building'. What is up and down? What is outside and inside? Public and private realms are blurred as space swirls together much like molten lava. The city is made of non-static materials controlled through censors inserted in all of our brains. This collective architecture parts like a sea, drips like honey, and forever changes with our thoughts, needs, and desires.Architecture without architects, a slum made out of storiesYennifer Johana Machado LondoñoIt’s an everyday place in a nondescript slum in the outskirts of Medellín, but the longer you watch, the more you let yourself get enraveled in the stories that make the societal networks that, as if a tapestry, have been woven thread by thread by every humble Colombian family in the pursuit of a better life. It’s architecture without architects that, against violence and scarcity, stays on its feet as it hosts a community that makes its spaces their own and, little by little, rewrites its history. Its magic resides in the spontaneity, the ingenuity, the cooperation and the tight-knit urban relations that have been mantained and upheld even in the quarantine of 2020.Luka Rados Aleksandar BorisovCloud City is a utopic solution for the sprawling cities of tomorrow. The transportation is seen as an important aspect of this vision, where new sub-centers are being developed around the big transit intersections. This would be a new and more organic interpretation of the garden city, where newly formed centralities would function as small almost self-sufficient cites. A Modular system is developed that can attach and detach itself, and therefore grow and shrink depending on the community needs. This flexible system should be seen as a cloud covering and supplementing problematic areas of the city, where extra infrastructure is needed. This section is a concrete intervention for one area in the 22nd district of Vienna, which is often seen as a District on the wrong side of the Danube. It was through centuries neglected since it was land that was often flooded, and it is desperate for new revitalization.Yoonsoo Kim Christoph SchmollingerMany people predict that in the future automated systems will replace our work. There will be countless unemployed people, who will receive universal basic income(UBI). Then, where should we go and what can we do?
Hannah Arendt classified human behavior into three different categories. “labour” is obligatory behavior for survive, “work” is useful behavior for production. Through “Action”, we can express our identity. And “action” cannot be replaced by automated systems.
The underground space in this drawing is a space for “action”. The more you go down, the more powerful, social and communal action takes place. Hannah Arendt subdivided the action into three further. Accordingly, we structured the underground dome-shaped space. In the space of “Willing” at the top, individual actions are drawn, in the space of “Judgement” at the bottom, collective actions are drawn, and in the space of “Thinking” at the middle, the process between them is drawn.
David Cadena Antoine PortierAs historical site of first contact; place of immigration and a tourism destination, Sydney Cove is a key interface between Australia and the world.
A smallpox epidemic was inoculated via the First Fleet’s arrival in 1789 causing the death of an estimated 70% of the aboriginal population in Sydney.
On 19th of March 2020 the 290mt long cruise-ship “Ruby Princess” docked in the Overseas Passenger Terminal (OPT) at 11:00 am, delivering 2700 passengers. 662 individuals tested positive for COVID-19, comprising 10% of the infections in Australia, triggering a pandemic.
The OPT and its related cruise ship industry have become a symbol of the pandemic spread in Australia, a capitulation to private profit and interest over the public good. Our proposal aims to return this space to the public, ceasing mass tourism activity; re-designing the shoreline and submerging the existing structure of the terminal as a landscape memorial to the pandemic.
What will be the human response to uninhabitable and remote areas due to the growing population and lack of space in densely populated cities in the future? What measures will be taken to maintain survival in other areas?Predicting an example of a suspended biomarker with mobility in the earth's pits. Pits and crevices created by massive earthquakes or meteorite impacts in the heart of the planet. A vertical structural formation like the planet.This biological habitat consists of a set of residential capsules that are controlled by the management headquarters. The spherical volumes, which are the control hub and the center of energy, provide the biological units' suspension by generating electromagnetic waves..The ability to connect units and form a more massive colony is another feature of these suspended units a different definition of being in collective spaces between suspended buildings using future knowledge and technology.As living with pandemics becomes the new normal, urban residents accept the need to enclose themselves into communal quarantine bubbles. New architectural growth is directed inward with city blocks reimagined into secure, self-contained communities. These new communities provide a comprehensive array of well-monitored, shared amenities while contact with the outside world is limited to virtual meetings and drone deliveries.
Architecture becomes alive with Nature. Wandering branches and creeping vines soften the concrete and steel lines of the urban landscape. The sound of water in gardens can be heard within buildings and from inner courtyards. Urban homes open to balconies bursting with vegetation that integrate into the architecture. Nature is treated with newfound respect, providing health, comfort, and joy. The idea of Biophilia - the love of nature - has bonded people together treasuring their ‘secret gardens’.
Based on sensitive speculation, this drawing proposes a temporary architecture to soften Hanoi city, amid a rapidly developing urban context. Hanoi’s 1000 year old tradition of kite flying provides a vehicle for the creation of temporary spaces that will facilitate Hanoi’s street culture, a culture that relies on permeability to provoke spontaneous interaction.
This drawing questions the path of Hanoi’s development towards a western city and proposes an alternative technology, in reference to Hanoi's past, that provides the tools for the organic social reconstruction of the present and the future.
Pectin, Cellulose and Chitosan, extracted from kite production, combine to form bio-polymer building components that contribute to temporary spaces, designed to melt back into earth’s ecosystem after several years. Unlike architecture as we know it, each decay provides the opportunity for redesign thereby allowing a sustainable and affordable infrastructure to evolve across the city, in harmony with contemporary social requirements.
Land of Electric Beasts : Machine Landscapes of the Post Anthropocene“Land of Electric Beasts : Machine Landscapes of the Post Anthropocene,” a drawing of a speculative scene of a post-human rural landscape of the not so distant future. It is a journey into a vast land of automation in an agricultural landscape located in a countryside or what can be called a machine landscape. Based on the acceleration of existing trends and technologies, an indoor agricultural landscape with sets of transportation cranes. It is but a small window into an emerging reality, a new non-human wilderness dominated not by the natural world but a new set of machine ecologies beyond human scale and understanding.Stranded. Left behind. Forgotten.
The survivors of Tangier's Island have been deserted by the world, left to their own devices. Rising sea water continues to claim the island; its tides washing away the memories it once held.
Citizens-turned-scavengers stack on top of one another, climbing higher and higher, desperate for fresh air. Below, the waters of the Chesapeake grow fiercer and colder as the planet continues to melt.
Implementing an ad-hoc approach to living, the scavengers use the ruins of their past to piece together the unstable grounds of their future. A living, breathing piece of propaganda, their reality exists to fuel the debate over the devastating effects of climate change.
The Tower of Tangier's is selectively sliced open to illustrate both the unique interior and exterior conditions on the island, stitched together through the method of composite image-making.
How long do they have?
When will it all collapse?
Pilgrimage of Everyday LifePilgrimage of Everyday Life is capable of generating over 1300 litres of water per day, tremendously ameliorating the inefficiency of water collection, as well as creating ever-changing landscape formed by the glistening, translucent waxed linen. Also, the spiral structure amplifies the abundance of religious and natural power in this area, providing a place beneath it for people to worship the blue sky and celebrate the harvest of water. The plaza space can be highly flexible, used for meeting, food preparation, mediation and festive activities and so forth. The stone floor radiates out from the well with a series of bamboo columns, reinforcing the notion of community, enhancing the transition from sacredness to openness and re-integrating the stunning surroundings. Thus, going to the community centre becomes a delightful and spiritual journey which one can experience personal and social transformation and celebrate the importance of local traditions, communal gatherings and Mother Earth.CUENCAMO a new opportunity.
A premise of architecture is to implant itself in harmony with the context. Welcoming and being welcomed by nature becomes an architectural priority in times of climate change. Where is the balance between architecture and nature? Perhaps we should explore deep in the forests, build and be a community with nature, understand it and project our refuges according to what nature dictates.
This is a refuge built by an explorer who investigates the possibilities of making architecture in absolute harmony with nature; he is deep in the forest, in the mountains ... of the earth? No. This is a new planet, Cuencamo, deep in another galaxy. A new possible world. A second chance.
