Fiction set the tone and the agenda for this third year of Diploma Unit 9’s foray into Iconic Architecture. Our projects were set in contexts hovering between real and imagined worlds. Some slipped forwards and back in time, sideways to alternate (at times catastrophic or giddy) realities, while others sat in places we know, only built from materials we don’t yet have and inhabited in ways our lives don’t yet allow. Oddly, the crazier the fiction, the more believable the project.
Flavie developed a split personality and portfolio between architect and archivist as she took on the legacy of the Guggenheim Museum. She presented new ways to design and read an architectural project – tightly woven with faux contextual and institutional material.
Amandine never left her room. Her fiction treats the city as an interior experience extending from the bedroom to the street to the city block. The eliminated exterior provokes a rethinking of architecture that becomes less an issue of what objects to shape than of what to inhabit.
Tijn was incarcerated in a prison of his own making. It evolved from a self-governing quasi-utopic world to one also focused on rehabilitation. The prison occupies one stage in a cycle of crime, punishment, detention and release – repeating itself behaviourally and architecturally.
Zoe imagined a world of water floating above the city grid. The bathhouse distorted our perception – visual, aural and haptic – to effectively recalibrate our understanding of space and material. Water made and dissolved walls while pouring from one space to the next.
Lara’s smooth sphere (Seraphina) provides a moment of respite for the frenzied city-dwellers who spend time with her. Patrick brings a bit of New York to Los Angeles in the form of public city-space, while Kitty begins archiving books and ends up archiving a city. Shen gives new meaning to the atrium while Aras imagines a world in which private is public. All the while, Mickey tells of imminent destruction whilst creating an architecture of survival and hope.