The Nazca Hyp(er)_Vyp(r) ® Observation Tower proposes to construct a new architectural agenda for experiencing the enormous landscape of alien drawings. It is this project’s intention to use this agenda as a way for man to use his technology to embrace the anthropological phenomenon here and to reconnect to the essence of nature once again. The desert surface geo-glyphs have become educational diversions now, but can also serve as a coordinate system to communicate with the unidentified and mysterious forms of life outside our own. The tri-partite hybrid intervention transplants users into an inspection that displaces modern space and time. It allows visitors to immediately embrace the historical inscriptions at multiple scale readings potentially in order of magnitude or more. The tower traces the embedded etchings as if they were analogous to individual moments of DRAFTing. The hovering tower operates as a memory, recording, and measuring instrument with the capacity to turn the observer into occupier and participant. The retractable mobile tower project signifies freedom from an absolute set of visual boundaries and extends without restriction. The open performance of the design initiates a machine logic and philosophy as an operational strategy, but focuses on the phenomenological and ephemeral qualities of the drawings as the primary way to evoke Mans’ comprehension of these anthropological masterpieces.
The Hyp(er)_Vyp(r) ® physically and viscerally uncoils itself as a way to navigate a collective audience and implant a superimposed memory of how and where these drawings came from. By erasing the singular viewpoint, the new tower offers unlimited spatial configuration within the shifting horizon while delivering an enlightened human perspective. The intention is to take the spectator to the object of study without harming or damaging the process or means. In addition to the Tower the project also contains the ARMature. The trajectory of the ARMature scans then traces the drawings based on user input and special interest. The ARMature, in concert with the Tower, creates shifting zones where the relationship between space and time is integrated with the spirit of the Nazca and their relationship with the Earth through movement along or around the drawings. Dynamic intervals of spirit, place, and event allow a re-engagement with the unknown and foster an education into the understanding of natural space
Year : 2005
Location : Los Angeles, CA, USA