“strangely interpolated” + “topias, with 10 1/3 ways of looking at complexity”

Amlin Iqbal Eshita

‘Canary’ed, Yellow’


Perry Kulper


‘10 1/3 Ways’ cultivates architectural theory, current changes in the socio-economic infrastructures, and Robert Venturi’s framing of the difficult whole, towards more accepting future world scenarios.

Provoked by myriad issues framed in Venturi’s seminal book, ‘Complexity and Contradiction in Architecture’, this thesis finds its bearing. ’10 1/3 Ways’, reacts to his suggestion that architects are highly selective with their areas of concern. Given the entanglements of contemporary life, this work expands the realms of architectural consideration, utilizing the key principles of the 10 chapters of the book, to produce a spatial setting that is motivated by reconciling the difficult whole. The world created, is simultaneously fed by varied social issues, framed through Venturi’s framing of ‘both-and’, ‘ambiguity’, and the idea of ‘contradiction adapted and juxtaposed’. The thesis negotiates representational and spatial techniques, to probe more adept, reconciliatory possibilities. 

As a ‘content-drive’, the work experiments with the densification of social issues, alongside the extinction of human and non-human existential crises, deploying Disney characters, analogously, to narrate the experimental field. Specifically, it utilizes different structural and real capacities of the characters to prompt and reframe a range of social issues towards a more equitable, albeit difficult, whole. 

Motivated by the effects of isolation, the abandonment of public infrastructure, care facility overpopulation, and the seemingly overabundance to ‘technological saviors’, the thesis also wonders about the psychological, emotional, and practiced impacts of such over-saturations. Using the animation ‘Wall-e’ as an ethical and metaphorical guide, the thesis provokes enquiries about the effects of such a world, and wonders about the implications of its impact on the ways we interact, ultimately wondering about whether well-being will be linked to conditions of isolation. The thesis, situated in Rome, and in the infamous cover image of ‘C + C’, the Porta Pia, reveals and reframes these loopholes.