critic: Neil DENARI.
suckerPUNCH: Describe your project.
Nawid PIRACHA: Sometime in the near future, the high-rise tower will no longer be seen as an expression of corporate wealth or singularity. Current projections indicate a migration from suburban and rural to urban environments.
The general pursuit in the relocation is of the following: social interactivity (including a smaller domestic footprint and independence from the car) and career objections distanced from the corporate and instead rooted in social aspirations.
Dead Air Space includes a school of industrial design, in which students with the above interests learn to manufacture and sell their designs. The tower’s upper half is composed of apartment units, hydroponic farms, and a gallery where the design students are able to sell their work directly to consumers, all factors that to cater to the socially conscious yet entrepreneurial new generation.
In architectural discourse, spheres have been exiled to the level of fantasy and fiction due to their habitation and construction limits. Here, they make their comeback using scale and packing as a defamiliarizing device. The building links the blank and sober extrusion of a machine with the pop and expressive geometry of spheres or “bubbles.”
sP: What or who influenced this project?
NP: Neil Denari; Enric Ruiz Geli; Atelier Olschinsky; and Ettore Sottsass and ’60s Italian product design.
sP: What were you reading/listening to/watching while developing this project?
NP: Reading: Pamphlet 12; Thomas Pynchon, The Crying of Lot 49, and Birkhauser’s Detail construction manuals. Listening to: Cocteau Twins, Garlands; Swans; Blonde Redhead; and J.Dilla. Watching: Black Mirror, The Lobster, and Maron.
sP: Whose work is currently on your radar?
NP: amid.cero9; SO-IL; Bureau Spectacular; Casey Reas; and William O’Brien Jr.