Preface
Admission
Works 1
Works 2
On Haishi - Mirage City Project




The History of the Project
Discourse on Utopia presented at Any Conference
Conceptual Panel
On the Exhibition: (ICC Gallery)




1. Prototype
2. Signatures
3. Visitors
4. Internet
Participation in the Exhibition through the Web Pages
Participation Artist's
Catalog

April 19th to July 13th, 1997 [Finished] Gallery A





Visitors


Visitors to the gallery space will participate under the guidance of twelve architects from the digital generation. As in Signatures, the transformation of the plan will be materialized in a model. Here, however, an additional time factor will be involved.
During the 12 weeks of the exhibition, the architects will come sequential two-week periods. The first week is intended for conceptualization and the second week is for realization. An architect's first (conceptualization) week will overlap with the previous architect's second week. The architect's second (realization) week will overlap with the concept-making of the next guest architect. Each week, a collaborative session with the next guest architect will be organized.
Throughout the 12 weeks, visitors' opinions and suggestions will be incorporated into the plan through the filter of these guest architects.
The exhibition space will become a workshop and architects' studio. All equipment necessary for architectural design will be prepared. Computers will be placed in front of video booths with a CAD system and high quality rendering software installed. There will also be access to an internet browser, fax machines, printers and various other tools.
Like the compositional method of traditional Japanese Renga poetry, Haishi will be transformed through successive generations of participants. For this process, certain rules must be predetermined. In Renga for instance, phrases of 5-7-5 syllables, and of 7-7 syllables should come in turn. Every phrase/poem should be made in consideration of the context of previous phrases/poems in terms of continuity, as well as in consideration of the dramaturgy of the shift of scenery. Fragments of the city are handed down as memory through the generations. A history of Haishi is condensed into three months. This hypotactic relationship will strongly contrast with Signatures, which begins with a spatial division and paratactically resolves collisions.
The development of Haishi in this section has already started a heated discussion concerning how to make and apply the rules. How can a framework that does not rely on spatial articulation be constructed? Is it inevitable to consider the "Prototype" as the Hokku (the initial phrase/poem)? These discussions are recorded in the Forum page.

English Translation: KOSO Iwasaburo

 
Piranesi "Campo Marzzio of Ancient Rome" (1762)

The (projected) Guest Architects and

Artists
OKAZAKI Kenjiro
KAWAMATA Tadashi
YOSHIMATSU Hideki
KOBAYASHI Katsuhiro
MARUYAMA Hiroshi
FURUYA Nobuaki
Elizabeth DILLER+Ricardo SCOFIDIO and DBOX with Lyn RICE
UZAWA Takashi
Alejandro ZAERA-POLO + Farshid MOUSSAVI
TANAKA Jun
WATANABE Makoto, Shin
IRIE Keiichi