JUNE 2022


Plot: Brussels, Belgium
Protagonists: Musicians Charlotte Adigéry and Bolis Pupul
Method: Dispositio (Vitruvius)

We were asked to discuss the matter of FACES in architecture. Publicity and privacy, exterior and interior, branding and identity. This was dealt with through the usage of three different tools: AI-assisted storytelling (orthographia), film (ichnographia) and animation (scaenographia).

For my project SYNTHETIC CHILDREN, I took inspiration from writings such as Xenofeminism by Helen Hester and the Xenofeminist Manifesto by Laboria Cuboniks, as well as the lyrics of Charlotte Adigéry and Bolis Pupul. Taking on the topic of objectification, I imagined an architecture that flipped the script. An exterior and six interiors with each their own persona.

Objects becoming subjects.
Architectures becoming alive.
Inhabitants becoming inhabited.

The tomb under Nature’s shrine cracked, and new histories—bristling with futures—escaped the old order of ‘sex’. [1] Labouring bodies, normative rules, care as an issue of gender, belong to the past. Transhumanist ontology, we refuse nature as the epitome, we reject injustice imposed on us by correlation to gender, race or sex. Death to the androcentric world.
There is no ‘feminine’ rationality, nor is there a ‘masculine’ one. [2] Domination, care, affection, strength, sweetness, stubbornness. They are not innate to a kind of body, whether breathing or not. Erroneously thought as predetermined, we declare traits as constructed and from now on as self determined. We are our own synthetic children. We are parents of our own parentage. [3]

Ectogenesis, hormone therapy, plastic surgery.

Science is not an expression but a suspension of gender. [4]
Suspending us from the burden of bearing a child, the burden of deformation against one's will, withdrawal of self determination. My body, my choice!

[1, 2 & 4] Cuboniks, Xenofeminism A Politics for Alienation
[3] Serres, Hominescence