Thesis 100dpi

THEORETICAL
UNDERPINNINGS
Radical Architecture
The architectural theory of our project has been loosely based on
many principles derived from some of the honorary and often controversial
minds within our field. The work done by Rem Koolhaas, the
proverbial father of our current epoch of architecture, in his project
Exodus provides a strong understanding in what it means to challenge
current norms of society, and the concept of inversion and in his case
perversion of social constructs, re-interpreting these as architectonic
manifestations. Where his project in its execution is highly dystopic,
we look to utilize his approach to challenging the norm and creating
a paradigm shift which ultimately is defined through the physical outcome
of the project itself. His work, radical by nature is put together
closely with the work by Superstudio’s - Continous Monument, which
again shows how a singular concept aimed to challenge a widely
accepted norm is used as the driver of the architectonic project.
Situationist International
116 REFUGIUM
“They rejected the idea that advanced capitalism’s apparent successes—such
as technological advancement, increased income, and
increased leisure—could ever outweigh the social dysfunction
and degradation of everyday life”
Despite of the mentioned progress and advancement nothing has
been undertaken to ease and make the refugee Journey less dangerous
and more humane. Situationist theory, intertwined with concepts
like unitary urbanism and psycho-geography, while strongly challenging
political norm through its avant-garde approach is what we see as
an indispensable precedent to learn from. Without a level of change
outside of architecture itself, there is no possibility to address a global
problem such as the refugee crisis.
The Society of the Spectacle
“The spectacle is not a collection of images,” Debord writes, “rather, it
is a social relationship between people that is mediated by images.”
The spectacle obfuscates the past, imploding it with the future into an
undifferentiated mass, a type of never-ending present; in this way the
spectacle prevents individuals from realizing that the society
of spectacle is only a moment in history. Aligned with this is the crisis
of refugees. Ever changing and fluctuating with intensity throughout
history.
The concept brought forward by the Society of Spectacle is found both
in the problem we face, and manifests itself simultaneously as the
solution, where the dichotomous relationship between refugees and
architecture needs to ebb and flow, integrating a multitude of aspects
and requiring an entirely new archetype in order to function.