experimental trickster, weaving a web of satirical relationships around the world of contemporary architecture, jimenez LAI states the following about his work.
fiction is the impetus of architecture, and architecture is one of the most powerful representations of culture. more specifically, the source of my work comes from interpreting taste, look, and trends. through acts of re-imagining fictional scenarios based on exaggerations of current practical and academic patterns, we can studiously investigate the alternate worlds and unexpected implications about architecture and urbanism.
in my work, i explore hypothetical scenarios of experimental architecture. by pressing alternate conditions against our context, the projects aim at interrogating different points of views and broaden the ways we engage conventions. graphic novels and physical installations are my two primary weapons of choice, and i believe representation is more than half the battle. the drawings often explore storylines of architecture and urbanism that dramatize exaggerated realities. the projects swerve back into the physical world via the interactive installations derived from the stories. these installations are attempts to better understand the spatial implications of the two-dimensional fiction. it is noteworthy to emphasize the role of installations in this pursuit of experimental architecture. my drawings about the fictional worlds are often physically translated into a kind of reality, and desire to provoke spatial possibilities.
as a projective practice, some of my predecessors include bob somol’s legible avant-garde, venturi’s reading of pop-culture, tschumi’s stories about events and program as well as hejduk’s hand-sketches that evoked senses of melancholic resonance that is without objectivity. in other words, the genealogy of future is encouraging me to curate my sources through hypothesizing the various tomorrows, and play on with more fictions and physical experiments.