The city, as we have come to know any city, is a homogeneous soup. Bound, gagged and gasping for air, it no longer represents us, it no longer represents our thinking, but it lives with us and some say we are stuck with it. The qualities of the buildings that make up the city are designed, but are of no importance. They are so minutely different, they might as well not be different at all.
SCALEFULNESS is an attempt to undermine the conditions laid out by those underminers, to produce an architecture at a scale which is beyond them. To place architecture back in the city one must do it away, above, and around the city, but never in the city.
SCALEFULNESS plays with colossal differences: of scales, of morphologies, of effects, of legibilities, and of indices within its territory.
SCALEFULNESS is aware of the conditions below, and laughs at them. The streets that make up the city below are built with cowardice, it doesn’t know that it is arbitrary, the city above takes pride in knowing that it is.
Allergic to the ground, SCALEFULNESS is ambivalent to the ambivalent. The city above derives its character from objects taken from the city below. Generic objects are re-deployed to become newly unfamiliar environments: The soda bottle house, the watch gear office complex. the ballerina tschotske cul-de-sac, the tea kettle neighborhood, the pistol grip district, SCALEFULNESS is the City of The Cold Press Juicer.
The city below is present only through a vague glimpse under one’s feet. Duck boats span between lakes of grids, Mountains are bound by radii, as stacks of suburbia are separated by motor grills.
Arrogant it is, and inconceivable it must appear, SCALEFULNESS believes it could not care less about context, it believes it demonstrates no awareness of siting. It believes it doesn’t give a fuck about scale. But SCALEFULNESS does, because an awareness of ambivalence is just as important as ambivalence itself.
SCALEFULNESS acts selfishly, only investing in its own qualities, in its own relationships and in its own nonsense. SCALEFULNESS is unaware of its misgivings; it sees itself as an edifice but behaves like a city.
To quote the members of a certain Italian group:
“We shall build on the ruins of our own wars and those of others, on the smoking ruins of private and public guerrilla warfare, on the clouds of innumerable mushrooms, atomic ones and those of peyoti”
Kyle is a designer and architect in training who recently graduated from the Southern California Institute of Architecture (SCI-Arc).
He works within, around, and adjacent to architecture; his focus is on future technology and design in a post digital era. His thesis, Scalefulness, dealt with ambivalence towards the qualities cities possess. Branchesi is interested in challenging the notion of scale, boldness and confidence within architecture and he has always experimented to go beyond the typical role of rendering as the standard representational technique.
While studying at SCI-Arc, Branchesi worked with and consulted on projects for Pita + Bloom’s finalist entry into MoMA PS.1 Young Architects Program in New York, Testa / Weiser’s robotic prototype factory for PSA Peugeot Citroën in Brazil, and John Winston Studio’s residential projects in Ojai California.
In Spring of 2013 he studied in Vienna, at the Universität für angewandte Kunst Wien under Studio Hani Rashid. Prior to SCI-Arc, I attended L’Ecole des Beaux-Arts Americaines in Fontainebleau France as a recipient of the Tappe Fontainebleau Prize.
He is currently collaborating as a co-founder on projects with TALL (The Architect Laughs Last), A new studio which aims towards fiction and settles for practice. (TALL Website)