BARTLETT UNIT 17 YEAR 5 2009/2010
The project is an immigration centre, located in the post-flood alluvial landscape of a near-future Rio de Janeiro. The city developed with dream-like rapidity through colonialism, slavery, monarchy, military dictatorship and modernism. It is to be thought of not as a collection of discrete architectural objects, but rather as a single artifact, the dynamic and evolving product of cultural accretion.
Key to the generative process of the project has been the accessing and layering of this multitude of cultural, urban and architectural histories. Each period is accessed through the narrative of an individual protagonist. Through these players, common themes of landscape and flooding, arrival and encounter, are revealed then extended.
The imagined flood uncovers layers of the built, the unbuilt and the demolished. These are treated as equal and are brought into multi-perspectival dialogue with the new. Instrumental modernist projects and boundaries dissolve. Ships, as vessels of culture, become absorbed into the building fabric. Post-colonial theories of hybridity and dialogism are explored for their architectural potentialities, both through methodologies and through drawing itself, paper as microcosm of city. The architectural artefact is itself, like the city, a product of accretion
The project is an immigration centre, located in the post-flood alluvial landscape of a near-future Rio de Janeiro. The city developed with dream-like rapidity through colonialism, slavery, monarchy, military dictatorship and modernism. It is to be thought of not as a collection of discrete architectural objects, but rather as a single artifact, the dynamic and evolving product of cultural accretion.
Key to the generative process of the project has been the accessing and layering of this multitude of cultural, urban and architectural histories. Each period is accessed through the narrative of an individual protagonist. Through these players, common themes of landscape and flooding, arrival and encounter, are revealed then extended.
The imagined flood uncovers layers of the built, the unbuilt and the demolished. These are treated as equal and are brought into multi-perspectival dialogue with the new. Instrumental modernist projects and boundaries dissolve. Ships, as vessels of culture, become absorbed into the building fabric. Post-colonial theories of hybridity and dialogism are explored for their architectural potentialities, both through methodologies and through drawing itself, paper as microcosm of city. The architectural artefact is itself, like the city, a product of accretion
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