INFORMATION
    Flow State turns distribution into a civic process. Through Flow State, we have investigated the ways in which the hyper-efficient nature of logistics undermines social and environmental wellbeing. To go beyond this singular focus on efficiency, we have each proposed a new distribution centre in which an alternative, ethical principle has driven the design.  Though our distribution centres move different items,  they each use architecture to make distribution public. Flow State is led by Andrew Copolov, and is part of Monash Architecture Yr 3, 2021. 

Flow State acknowledges the Wurundjeri Woi Wurrung and Boon Wurrung people on whose unceded lands we live and work.


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PROJEKT DEKONSTRUKT






Indra Liusuari
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PROJEKT DEKONSTRUKT (DEKON) is a collective that critiques gentrification, housed in a Brutalist warehouse named ‘The Lagerhaus’. Its architecture is influenced by techno clubs such as Berghain and Tresor. Hence, DEKON operates after-dark akin to the nocturnal techno world. DEKON retrieves concrete rubbles from demolitions in Naarm's Southeast. After, a protest through projection art is staged. Materials are repurposed into furniture, later dismantled as materials for a network of collaborating architects. Products are sold exorbitantly in Fitzroy. Unsold pieces from each season are destroyed into debris for construction; a satire critiquing overpricing vintage furniture among the elite.

DEKON’s reappropriation of Modernist architecture as its executive office is to problematise capitalism by creating an alternative hierarchy between labourers and executives. The rusty structure houses the executive office but it has no other function, as compared to the other open-plan chambers on the second storey of 'The Lagerhaus' that has no form of exclusivity. DEKON also utilises unusual terms to describe the areas inside to reinforce its unconventionality, both in its architecture as well as its programme.

Indra Liusuari is a queer, non-binary conceptual artist and a student of architecture, whose interdisciplinary practice includes audiovisual media, performance, installation, and publication. Liusuari has a profound interest in critiquing and queering the heteronormative, hyper-capitalist, and eurocentric architecture field. Liusuari cites radical architecture from the latter half of the 20th-century, the homoeroticsm of the 1970s-1980s, and the underground rave scene as their/his paramount influences in their/his practice.



Mark