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SCI-Arc's Graduate Thesis 2020
Instructor: David Ruy
"With the technologization of fan activism through social media becoming more evident becoming more evident, for me, this begins to raise questions about how such phenomena can can begin to motivate new forms of collective action at ever larger scales, and even hybridize with known typologies of counter-cultural festivals that exist today, like Burning Man and Coachella Festival. In short, what I question is, how can a Woodstock would look like today?
What if, instead of a large farm in New York, it is deployed on a permanent technologized landscape in South Korea; if instead of Rock music, it is Korean Pop music; if instead of for twentieth century American youth seeking to maintain democratic freedoms; it is for a global youth culture in a still ambiguous age of social media-based politics.
The main typologies used for this festival were codes of practices used for the approval of large events like the Coachella Festival. Three stages according to the code of practice will be used for different purposes: The first one is the largest and the main stage, able to be occupied by a large boy groups and fandom. The second one is for groups that are not recent in the music industry, but are not the main participants of the phenomenon. Third, but not least, is what I call the Rookie Tent, in which groups that were recently debuted have the chance to show their performances for potential new members of the fandom that also have interest on getting a new fresh sense of music.
And finally, with the use of particle systems that generates synthetic landscapes in this festival for each stage, this ocean becomes a physical representation and the use of lightsticks become the main apparatus for this new representation of a festival in the 21st Century."

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