The initial ideas for a project deriving from a profound examination of the drawing by Lina Bo Bardi, incorporation the ongoing process of translation, not only visually but in terms of analyzing as well syntax and vocabulary of her architecture writings and manifestations, are outlining a concept for implementing the modern city‘s inherent divergency between its built fabric and the human body, which rests upon the basic principle of extension through multiplication of existing elements (spaces) in a vertical order, just as formulated in the early cartoon published in Life magazine’s “Real Estate Number” of March, 1909 by A.B. Walker and cited by Rem Koolhaas in Delirious New York.
There are two main requirements which are not fulfilled in the conventional reading of the vertical, but however should become integrated in this very project. Firstly there must be no lack of illumination from top and bottom, which could be countered with translucent floors and partly light reflecting surfaces in both vertical and horizontal direction. Furthermore, to meet the demand of the horizon, complaisantly suggesting an infinity, not only metaphorical, the floors have to be merged to a „landscape“, avoiding a contradictory hierarchy of structures being built in one site and those supporting the stack itself.
This neutral landscape, of course anything but inculpable, however as neutral as possible to its future use and as capable as possible to endure later interventions, is in this way already corresponding to the site and its inhabitants. It is providing space, not limited within the (endless) grid, that symbolizes and measures the extension and is a monitoring device for proportions. Eventually it is able to contract, grow, or shift subject to the varying tide of urban density.
Serving on several layers as infrastructure, recreation area, market, exhibition space (museum) or barrier, it is supposed to be more innate to a place than the existing city fabric, clearly exaggerating the „view“ more than the „perspective“.
Reuniting organic elements, such as human, animals, plants, funghi, and anorganic elements, such as buildings, pavements, cars, traffic lights and neon signs. Reassining them with an appropriate spatial width, opposing assymmetrical conceptions such as the Manhattan Grid, the stacking fulfills the social requirement of accessibility, both visual and physical. The structure is not ‚free spanning‘, causing anxieties, vertigo and inapropriate conditions in terms of scale to the body, but triggers a certain tension between the stacks and panels, which are transparent both in material as in construction.
The grid may explain the initial idea of spanning a landscape, of artificially extending the street and its relatives, such as places, alleys, parks, bridges to an appropriate (to density and verticality) size (of urban ‚network‘ represented in space.) Maybe it is becoming a museum as well? Solution for the museum‘s problem beeing categorized as a closed, cubic building with limits of capacity in opening hours, enclosing and seperating artworks, that lack in communication with a majority of their possible recipients. But is it then a sculpture park?
I do not want to require hypothesized certain conditions of a future society in order to legitimate aspects of the project.
Most likely my attempt of developing the project through drawing, limited within the extents of perspective, mainly unpretentiously focusing vanishing points with incohate versions of lines, accentuating with different focal lengths or lens widths, is similar to a intuitive practice of photography or film. Except lengths in certain image planes or sections along the lines, the measurements of the depicted are well variable, which yields a lack of comprehensive uniformity throughout the project. So how to define those numbers at last?
Is it now stacked communicating territories or stacked communication territories or both?
construction of the platforms, both oblique and transparent parts, is a grid system, variable in cell size and curvature of steel beams, which is enforcing the concrete slab people are walking, standing, jumping, cycling, laying or dancing on, and nevertheless extends to a leightweight, sometimes almost invisible trellis for things to grow on, to be drawn in to space as its calibrating element.