massachusetts institute of technology
fall 2024
professor | anton garcia-abril
in a studio titled 'matter to data', where the focus is placed on purity of process and idea, the question arises of how to develop an architecture aware of its own synthesis.
in a studio aiming to develop an 'architecture of the earth', how does one sublimate vernacular architecture?
in a studio where the priority is on intellectual and creative exercise [perhaps even posturing], how does one offer a project aware of its own superfluity?
sub.[liminal/limation] (sls) stands as one possible answer. situated on the quarantine island of lazaretto, nested in the larger island of menorca, sls takes a single idea and propagates it throughout an entire project. using the vernacular necropoli of menorca as a starting point, sls sublimates excavated burial sites to the level of boutique, 'capital A' architecture for the pointless purpose of a menorcan 'biennale of the earth'.
in developing a spatial strategy, the quarantine walls were used as a pre.existing organizational construct. subsequently, a spatial matrix based on potential nodal thresholds was developed in order to situate form, space, and program. following this, the excavated necropoli spaces were studied, formally and geologically, then synthetically sublimated as monolithic concrete blocks cast into the formwork of the earth. this was only natural given the chosen quadrant of the island was also the most deadly, the place where the sickest were sent to die.
as such, the earth (and subsequent decayed bodies) between the walls is sytematically crushed up and excavated to create a literal formwork, or earthwork. following this, the excavated calcarenite is used to mix concrete on site, which is then cast into place. thus, the existing walls, earth, and detritus act as a formwork of the earth, or earthwork. after curing, the walls are removed, the earth and detritus are excavated, and what remains is synthetic, sublimated space - monolithic concrete caves which can now house the required program.
as for the subliminal aspect, it is a triple entendre (if not more) - the space between the walls was originally purely liminal - a safe way to move the sick. the architecture of sls exists below this as a re.constituted liminality. additionally, the overall atmosphere of the project acts as a subliminal reference to the morose nature of the necropoli. finally, the entire project subliminally references its own synthesis, as evidenced by the traces and inscriptions of the formwork, the spaces between the cast monoliths where the walls once stood, and the debris of humus and earth still stuck on the concrete.