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Yoshiwara

Part 1 Project 2004
Jamie Morris
Nina Carolina Álvarez Zioubrovskaia
 University of Nottingham Nottingham | UK
For Virilio, pleasure in the future city will come from the pause. Our epoch, saturated and overexposed to ephemeral events, renders the human body a vacillating object off which exposures ricochet, reflect or permeate. This nervousness and machinic instability are emblematic of Yoshiwara – a renegade environment, relentlessly contorting in response to physical and virtual neighbours. It is not the architectural framing of event-space captivating us, but rather the ‘in-between’; ponderous and uncertain. Humour and kitsch are Yoshiwara fundamentals – an environment that refuses to take artefacts seriously; reinterpretation of pastiche becomes prevalent – naïve but with a bitter retort.


The value of homage was reaffirmed when Jamie Morris visited to the Foreign Office Architects exhibition at the I.C.A. Through intuitively probing the intellectual and spatial offerings of the exhibition work, he demonstrated a surprising inevitability stemming from FOA’s approach. Upon rejecting it - and with it the first beautiful flowerings of his own project – he created his own original architectural offering; complex, articulate and of course beautiful. I feel sure that a day will come when Jamie’s own theoretical position will in-turn come to be rejected after a future student visit to the ICA.
Tutor(s)
2004
Paul Virilio commented that the pleasure of the city of the future would come from the pause. Biologically, the synapse demonstartes the character of the scalar pause. This is also experienced in the delicacy of smectic and nematic liquid crystal formatio
Urban grain . . . Trinity Buoy Wharf lies on the banks of the Thames - a stark contrast to its more illustrious neighbours, the MIllennium Dome and Canary Wharf. A finer, earthy and industrious grain has emerged.
Urban patina gauze . . . Yoshiwara upholds the continuation of the urban patina - but furthermore replicating its intimate grain and archaelogical scars in a scalar approach.
Ground floor plan
First floor plan
Indoor bog . . . the indoor bog cross-programmes the new Olympic sport of International Bog Snorkeling and the local economical benefits of an eel and mussel farm. The indigestability of a bog in such an area represents a characteristic of Yoshiwara - the
Exploded diasomorphic . . . the scheme acts as a material synapse; transmogrifying information - real and virtual alike - as it reacts and cnotorts to the stimuli it senses.
Dialectical struggles . . . free and instantaneous dialogue between autonomus indivduals generates uncertain juxtapositions and striations.
Cross section . . . showing indoor bog and subterranean electromagnetic banana goop outlet.
Longitudinal section . . . revealing the indoor camping ground and entrance lobby, based upon the premise of the spatial ambiguity of the Klein Bottle. Phenotypic adaptation conquers these space and renders them familiar.
Machinic instability . . . the pv cells of the solar fish are light reactive - thus folding away in low light. Upon this trigger the pneumatic fishing arms begin to trawl the Thames for eels and mussels - ushering the feeding fish into the bog from where
Nematic overexposure . . . the architectural organism has reacted to overexposure; where it was once opaque and occlusive, it is now porous and vulnerable - displaying physical and virtual territorial uncertainity. Fluid patina is all that remains as an a
Rhetroscopic isometry . . . I don't think these words are real . .
Entropic bananas . . . it is here that Yoshiwara's conjecture takes form. Mechanically proximate space must yield to electromagnetic proximity. Simultaneous and instantaneous events occur and will counter-occur - flooding the fuid-memory and erasing all k
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