The entry design for recognizing a natural disaster is in itself a coming to terms with the physical world. The worldview of man assumes an arrogance and attitude that mis-positions him into thinking he dominates the world. The instability of our planet can be understood when the shifting sand and geological sub strata is liquefied and dispersed. The project is more than advertising the memory of losing people. The creative solution offers an open burial for the dead to be constantly acknowledged and recognized. The complete clothing of voided shadows and subverted plates present a new geometry to the dead lands of modernizations. The computer imagery presents a giving back and visceral sacrifice to the Gods of control and offering local personal experiences to absent beings. The elevated pathway from the sunken plaza obliquely cants out toward the profane traffic circle as a takeoff ramp directing a very dangerous relationship.

The site has skewed ground plane devices that process a rich fabric of imprinted forms. This rambling declaration over the landscape attempts to unify a yearning for fractured area. The fault line parallels the site by a few hundred meters. This line of eternal displacement not only ruptured the region but took away people from families. The machined wing tower dances on the annual day of catastophe as a reminder of transmitting cultural presence. The over-scaled armature is elemental but slippery in comprehension. Its writing of backdrop noise has hydraulic equipment to scissor lift people in the air. Where nature can be considered as a machine, man is a object of scripted wonderment. His benign behaviour is saturated with civic reform and liberalities. Information is a mechanism for enveloping ideology. The information keyed into this project has numbness, denial, danger, and stratums of injected layers. This rogue memorial internalises and refuses a persuasive singularity. Repression becomes impression. Code becomes appliqué. Jargon becomes binding. The myriad of remind people who and where they are must be examined from critical ever present voice. The orange super reflective steel induces a cataloguing scenario for visually indexing the lamented mirror. The imprecated pipes, bars, plates, pistons, wires, shafts, and hardware consciously provide control in sky writing the history of taiwan’s people. The project’s emphatic phenomenological goals offer a new source for encountering spatial signals and tabulated relationships.


DAT(A) >>>Digital Atelier Terrafirmative (ANARCHITECTURE)
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Year : 2003

Location : Chi Chi, Taiwan


plexus r + d : Erik Lewitt , Jordan Williams, Dan Nemec, and Rob Mothershed