Thesis 100dpi

sion, depravity, poverty. This becomes a system of rights that this new
society will be based upon such as; justice, safety, inclusion, surplus
and wealth.
This is by no means a practical solution for today, but a way to change
our perception and thinking in order to create alternative outcomes in
the future. An architectural provocation to the current way in this crisis
is approached. The beginning of a paradigm shift.
“You never change things by fighting
the existing reality. To change something
build a new model, that makes
the existing model obsolete.”
Buckminster Fuller
Architecture of Movement
The right to move is linked to the right to survive. This overriding concept
is at the crux of the refugee crisis. Thus, Refugium is expressed as
an architecture of movement, emulating the new nomadic existence
of its inhabitants. Movement means that the architecture is forever
in a state of flux, a displacement of its users constantly altering their
surroundings to suit their needs along their journey. Embracing and
enhancing the lifestyle of its ludic society, the architecture takes on the
role of allowing the liberation of the inhabitants ludic potential, thereby
liberating them as social beings. Living in a world that is currently
and ever advancingly automated, it is only right that the mundane,
repetitive nature of work become automated. The responsibility is on
the architecture to provide for its people, breaking humanities chains
of an unceasing struggle for existence. Such changes are so powerful
to the way in which the relationship between spatiality and society is
altered, yet we have no precedent in a historical sense to understand
what these changes would mean. It is not difficult however to understand
that these changes are impending based on the exponential
modernization of our society over the last few hundred years. The
ever flowing and adapting spatial configuration of Refugium can be
mapped but never fully captured in traditional cartographies, it can
be creatively imagined but only practiced and fully lived. This is due
to the fact that the structure takes part in the 4th dimension – that
of time - being in continuous transformation, constantly changing
its configuration. To capture it with image would be as frivolous as
photographing the ocean, only a part of this constant process would
be frozen in time.
113 LIFE IN MOTION