Sahar Mihandoust – Tazy Momtaz

Spring 2013:


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This design proposal references two important urban futurism precedents from the postwar period of the 1960’s, Kenzo Tange’s Plan for Tokyo (1960) and Cedric Price’s Fun Palace (1964-72). Similar to Tange’s project, Coropolis provides a large-scale superstructure for the gradual accumulation and distribution of smaller-scale programmatic elements over time.  Whereas Tange’s project was premised on the machine, however, and with it the organizational logics of regularity, Coropolis takes its cue from geology and by extension qualities of differentiation.

Located in the Marine National Monument off the coast of Hawaii, an archipelago of remote islands which support a fragile ecology of marine wildlife, Coropolis proposes a post-human city which privileges the needs and desires of the natural environment over those of humans.  Comprised of a series of large-scale geoform towers or artificially constructed islands, Coropolis engages the global effects of climate change on wildlife depletion and extinction by proposing an incubator for a wide variety of endangered species, indigenous as well as non-indigenous.  Forms of human occupation are limited to a series of observation towers, each of which commands a wildlife resource distribution and surveillance infrastructure that simultaneously supports and observes the island’s ecological growth patterns.  These patterns are then broadcast via the Internet, allowing for a secondary form of voyeuristic occupation by humans. In this respect, the project incorporates aspects of Price’s Fun Palace project in terms of surveillance culture and responsive technologies.

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Evan Douglis, Professor


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