Thesis Access

PARASITIC ARCHITECTURE
E M B O D I M E N T O F D Y S T O P I A
[1]
P ar a s it ic Ar c h it ec ture - Embodiment of Dystopia
By Marina Pomigalova
A 120 - p o in t thesis submitted to the

V ic t o r ia U n iver s it y of Wellington in partial f ulf ilment
o f t h e r eq u ir ements for the degree of
Mas t er o f Architecture (Prof essional)
V ic t o r ia U niversity of Wellington
2018
“ T h e o n l y a u t h e n t i c i m a g e o f t h e
f u t u r e i s , i n t h e e n d ,
t h e f a i l u r e o f t h e p r e s e n t ”
- T e r r y E a g l e t o n
( E a g l e t o n 3 6 )
01. “The Main Perspective”

- Author’s own.
[abstract]
W e a lwa ys liv e on the edge of tomor-
r o w, wh er e t he future is just around
t h e c o r n er . T oday, as never before, f u-
t u r is t ic id ea s have become a prevailing
p a r t o f a m o dern reality, as we live at
a t ime w h en the most interesting sci-
en c e fic t io n books are indeed set in
t h e im m ed ia te present. A more ‘re-
s p o n s ive’ ag e of architecture suggests
t h at t h e b o undaries of our discipline
b e r ed efin ed. Through searching for
an s wer s an d inspiration within prece-
d en t s an d fictional realms, this thesis
o p en s a d o o r to a hypothetical place
w h er e ar c h it ecture takes new f orm - to
t h e t er r it o r y existing between abstract
an d p h ys ic a l, where speculative ideas
b ec o me a w ay of understanding nego-
t ia t io n b et w een present and future in
s ear c h o f n ew architectural solutions.
[ vii ]
Beyo n d t h e p hysical built environment,
ar c h it ec t u r e i s a f ield of limitless pos-
s ib ilit ies , a vessel for an endless inter-
p r et a t io n an d the embodiment of nar-
r at ive s c en ar ios. This thesis advocates
fo r u n c o n ventional solutions in archi-
t ec t u r e, a r g uing that traditional ap-
p r o ac h es ma y no longer be successful
w it h in c o n t emporary realities. Thus, in
o r d er t o c r ea te functional architecture,
t h at is a lwa ys relevant to conditions in
w h ic h it exis t s, the thesis suggests that
ar c h it ec t s s h ould not design f or a bet-
t er fu t u r e a s they usually tend to do,
b u t s h o u ld r ather plan f or more realis-
t ic a n d even pessimistic scenarios. This
t h es is , t h er ef ore, speculates about ar-
c h it ec t u r a l b ehaviour in a dystopian
s c en ar io , wh ere civilisation has gone to
c h ao s , c r ea t i ng conflicting conditions
o f an o ver p o pulated place, in which ar-
c h it ec t s h a ve no control over residen-
t ia l ar eas a n d architecture takes new
fo r m u n d er t he lack of buildable space.
T h r o u g h an alysis of case studies and

fa n t a s t ic s c e narios portraying dysto-
p ia s , t h is t h esis traces the evidence
o f a fu t u r e t hat is already here, in this
w ay, a r g u in g the importance of engag-
in g w it h t h e present through under-
s t an d in g fic t ion in order to influence
r ea lit y. T h r o ugh acknowledgement of
mo d er n t en d encies such as urbanisa-
t io n , o ver p o p ulation, lack of space and
u n veilin g la yers hidden within f iction-
al n a r r a t ives , this thesis examines how
s u c h c h an g es are shaping the image of
t h e c o n t emp orary world.
[ viii ]
T h er efo r e, t h e thesis advocates f or the
imp o r t an c e of the speculative method
in a r c h it ec t u re, as such an approach al-
lo ws o n e t o imagine f ictional possibili-
t ies in o r d er to create more responsive
s t r u c t u r es , w hich are always modern.
T h r o u g h a n alysis of parasitic be-

h a vio u r s , t h is thesis speculates on how
ar c h it ec t u r e will respond to environ-
men t al an d social changes, and what
t yp es o f s t ructures can evolve and
ad ap t o ver t i me. Through experimen-
t a t io n an d s peculation, the thesis ex-
am in es p a r a s i tic behaviors as a way f or
o r g a n is m s t o evolve, in order to test
if s u c h s t r a t egies could be successf ul-
ly u s ed in a r chitecture. Moreover, the
n a t u r a l g r o w th process allows an end-
les s evo lu t io n of structure with the cre-
at io n o f ad d it i onal spaces, allowing res-
id en t ial d w ellings to reflect constantly
c h an g in g h u man needs. Speculating on
c o n d it io n s in which people are forced
t o fin d livin g alternatives, this thesis
c h allen g es a n architectural vision to
em b r ac e t h e role of the occupants pro-
vid in g t h em more freedom and control
o ver t h e s p a ces they live in. Thus, the
t h es is p r o p o ses new ways f or contem-
p o r ar y d es ig n to evolve through active
p a r t ic ip at io n of habitants in the ongo-
in g d evelo p ments and expansion of the
b u ild a b le s p a ce around.
[ ix ]
[preface]
AR CH ITECTURE IS MORE
Bein g an ar c hitectural graduate I came

t o a b elief t hat curiosity, wonder and
c o u r a g e a r e g ears in the engine of prog-
r es s . In my opinion the best ideas are
b ein g b o r n fr om eagerness and exper-
imen t at io n , in the place beyond ordi-
n a r y, o n t h e l ine between insanity and
r ea lis m. In my view architecture rep-
r es en t s mo r e than a design of function-
al s p ac es . It is a f orm of art existing
t o d ec la r e a statement, to provoke and
in s p ir e - a n art form that represents
id eas a n d em bodies belief s. Each build-
in g is mo r e t han just a structure, but a
r ep r es en t a t ion of our mentalities, cul-
t u r es a n d t r a ditions. Buildings of each
er a a r e p o r t r aits of their time, visions
c a p t u r ed in frames.
I d ec id ed t o s et my project not here and

n o t n o w, b u t in a place where anything
is p o s s ib le - in a scenario that allows a
s p ec u la t ive p ossibility f or future archi-
t ec t u r e an d pushes the boundaries of
t h e ima g in ar y, at the same time off er-
in g a p o t en t ial architectural solution
fo r a r eas with no available buildable
s p ac e.
[ xi ]
[ vi ] a b s t r a c t
[x] p r e f a c e
[2] i n t r o d u c t i o n
[ 6] m e t h o d o l o g y
[8] p a r t 1
1 _ d y s t o p i a [ 10 ]
2 _ p a r a s i t e [ 26 ]
[ 48 ] p a r t 2
3 _ p r e c e d e n t s [ 50 ]
4 _ s i t e [ 68 ]
[table of contents]
[ 84 ] p a r t 3
5 _ e x p e r i m e n t a t i o n [ 86 ]
6 _ v i s u a l e x p l o r a t i o n [ 104 ]
[ 116 ] p a r t 4
7 _ f i n a l d e s i g n [ 118 ]
[ 140 ] p a r t 5
r e f l e c t i v e s u m m a r y [ 142 ]
c o n c l u s i o n [ 146 ]
[ 148 ] w o r k s c i t e d
[ 154 ] l i s t o f f i g u r e s
02. “Concept Development”
- Author’s Own.
[1]
[introduction]
[2]
BRAVE NEW WAY
50 yea r s ag o ideas that seem ordinary

t o d a y wo u ld only live on the pages of
b o o ks an d movie plots. Many of the
t h in g s t h at are happening this very
mo men t h a ve direct parallels to the
n a r r a t ive id eas of the futuristic soci-
et y. R a p id urbanisation, uncontrolla-
b le p o p u lat ion growth and immigra-
t io n - t h es e are the shaping elements
o f a c o n t emp orary world. These are the
t en d en c ies t hat are f undamentally al-
t er in g t h e c ourse of our lives, chang-
in g t h e im a g e of the modern environ-
men t ; s u c h adaptations suggest new
s t yles , ar c h itectural freedom and ur-
g en t b u ild in g methods. A new era re-
vea ls p o s s ib i lities for innovative and
u n p r ec ed en t ed solutions.
T h e r ead er will be taken on the imagi-

n a r y jo u r n ey to the possible futuristic
s c en ar io o f a world where architecture
h a s evo lved to adapt - to the f iction-
al s p ac e, w h ere structures behave like
livin g o r g an isms and have developed
s u r vival t ec hniques by “f eeding” on
d ec a yin g b u il dings in order to sustain
t h eir o w n ex istence. The reader will
en c o u n t er a visual story of a fictional
o ver p o p u lat ed city, where lack of space
an d r eg u la t io ns has created a dystopia
- a c h ao t ic environment with inf lict-
in g c o n d it io ns forcing architecture to
t r a n s fo r m .
[3]
T r avellin g t h r ough a speculative space,
t h e s t o r y w il l unfold in an extraordi-
n a r y wa y, n egotiating the correlation
b et ween s p eculative prospects of ur-
b a n s p a c e a nd natural survival strate-
g ies , t h eir m orphology and relevance
t o a c o n t emp orary world.
T h e a im o f t his thesis is to create an

in n o va t ive a pproach f or parasitic res-
id en t ial ar c h itecture within the urban
c it y a r ea as a representation of dystopi-
an id eas . T h e intent is to move beyond
c a t eg o r ic a l thinking, to experiment,
s p ec u la t e a n d create architectural de-
s ig n a s a vis u alisation of f uturistic pos-
s ib ilit y.
[4]
03. “Concept Development”
- Author’s Own.
[5]
[methodology]
[6]
S t a r t in g fr o m theoretical investigation,
t h e r es ear c h began with an exploration
o f d ys t o p ia n narrative scenarios, com-
p a r is o n o f t erms related to utopia and
d ys t o p ia a n d understanding of their
r o le in s h a p i ng modern architecture.
Fo llo w ed b y study of symbiotic rela-
t io n s h ip s in nature as survival strate-
g ies a n d t h eir possible implementation
in d es ig n , t h e second part of the the-
s is an alys es existing emerged struc-
t u r es a n d non- fictional precedents,
t h eir r elevan ce to dystopia and parasit-
ic a r c h it ec t u re. Such a theoretical and
s p ec u la t ive d esign approach is used to
c r eat e t h e d e sign, which is explored in
t h e t h ir d p a r t of the thesis, describing
t h e id ea d evelopment through visual
an d d ig it a l ex perimentation. The pro-
c es s lead s t o a visualisation of dysto-
p ia n id eas and their incorporation into
a p ar a s it ic s tructure. The final part
d es c r ib es t h e development of the de-
s ig n an d t h e way researched ideas have
b een im p lem ented, concluding with a
r eflec t ive s u mmary and comments.
[7]
[part 1]
[8]
T h is p a r t o p ens a discussion towards
t h e imp o r t an ce of speculative thinking
in a r c h it ec t u re. Seeking inspiration in
n a r r a t ive s c enarios and organic rela-
t io n s h ip s , it investigates the terms par-
as it e a n d d ystopia, negotiating their
r elevan c e t o each other and to archi-
t ec t u r e. T h e f ollowing part of the re-
s ear c h in ves tigates possibilities under
w h ic h p ar a s it ic architecture and dysto-
p ia c an b e p erceived in a f unctional or
mo r e p r o d u c tive way, turning what are
s eem in g ly n egative, reactive phenome-
n a in t o p o s it i ve proactive ones.
[9]
[chapter 1]
[ 10 ]
D YS T O PIA - A DARK REALITY
T h is c h ap t er investigates the intellec-

t u al va lu e o f understanding dystopia in
o r d er t o r eimagine architecture. Start-
in g wit h a n alysis of the terms dystopia
an d u t o p ia , t his chapter argues the im-
p o r t a n c e o f designing f or dystopian vi-
s io n in o r d er to create more responsive
t yp es o f s t r u ctures. Following analysis
o f t h e t er m s , this chapter analyses sci-
en c e fic t io n case studies, where archi-
t ec t u r a l r ep r esentation of a city is be-
in g exp lo r ed and discussed.
[ 11 ]
S P ECU LATION IN ARCHITECTURE
Au t h o r ’ s a n d artists have always been

fa s c in at ed with an idea of imagining
fu t u r is t ic en vironments, which can be
evid en c ed b y as myriad of science f ic-
t io n a l n o vels , f ilms and artworks. In or-
d er t o b et t er understand and evaluate
p r es en t s o c ial, cultural, and techno-
lo g ic al c o n d itions and project them to
fu t u r e p o s s ibilities, architects and de-
s ig n er s o ft en utilize speculative f iction
t o c o n s id er ‘ what if”. Science fiction is
t h e o n ly g en re that explores the pos-
s ib ilit ies o f h ow society could function
d iffer en t ly. This is why Dr Helen Klus
b elieves t h a t fiction “allows us to imag-
in e t h e fu t u r e we want, and work to-
w ar d s it . It also makes us aware of the
fu t u r es w e wish to avoid, and helps us
p r even t t h em” (“Imagining the Future”).
Fic t io n s u s u ally actively ref lect mod-

er n c o n d it io ns while suggesting the
p o s s ib ilit y o f what is yet to come, en-
g ag in g c o n t emporary realities with vi-
s io n s o f t h e f uture. In the interview
g iven t o Ar c h2 0 , Liam Young suggests
t h at s p ec u la tions do not envision the
fu t u r e, b u t r ather reflect the “visionary
p r es en t ” , a llowing us to see the mod-
er n w o r ld fr o m a dif f erent perspective.
T h u s , Yo u n g implies that fiction expos-
es an d exag g erates everything that can
g o w r o n g ; t heref ore, the exploration
o f t h e im a g inary allows us to see the
w o r ld a n d t imes we live in with “fresh
eyes ” ( “ In t er v iew with Liam Young”).
[ 12 ]
Liam Yo u n g also believes that specula-
t ive a r c h it ec t ure is a way for designers
t o en g ag e with emerging tendencies
an d t o s t a y relevant to the constant-
ly c h a n g in g city in a “much more crit-
ic a l a n d u r g ent way” (“Liam Young on
S p ec u lat ive Architecture”).
DYSTOPIA
W h et h er it is art, a novel or an archi-

t ec t u r a l s p eculation, there are two
ma in s c en ar ios picturing the f uture civ-
iliza t io n s : u t opian and “dystopian” (The
H u t c h in s o n Unabridged Encyclopedia).
T h e t er m “ u t opia” was popularised by
w r it er T h o m as More and usually rep-
r es en t s an o verly optimistic vision of
a fu t u r e s o c iety, a system of political
o r s o c ial p er fection (The Chambers Dic-
t io n a r y) , m o st commonly an idealised
w o r ld , w h ic h is too good to be true. An
o p p o s it e t er m, “dystopia”, also known
as a n t i-u t o p ia is a version of a future
w h er e t h in g s are f ar from ideal, com-
mo n ly r ep r esenting a community or
s o c iet y t h at is undesirable and daunt-
in g ( P o lit ic a l Philosophy A- Z ). Jonathan
Lewis d es c r ibes dystopian fiction as
“ r u in ed c it ies, broken institutions, and
ec o lo g ic a l, t echnological, political, and
ec o n o m ic c o l lapse” (4 5 ). Thus, while
u t o p ia o ffer s an idealised scenario,
d ys t o p ia u s u ally represents a dark de-
p r es s in g r eality.
[ 13 ]
D es p it e t h e name, dystopia is not sim-
p ly t h e o p p o site of utopia. As suggest-
ed b y Mic h a el Gordin, to be truly op-
p o s it e o f u t o pia, dystopia would be “a
s o c iet y t h at is either completely un-
p la n n ed o r is planned to be deliberate-
ly t er r ifyin g ” . Instead, dystopias usual-
ly h ave p ar a llels with modern societies
t h at ar e “ p lanned, but not planned all”
( G o r d in et al., 1 ).
Alt h o u g h t h ese terms are antithetical to

ea c h o t h er , t here are many similarities.
Bo t h u t o p ia s and dystopias share char-
ac t er is t ic s o f science f iction; each have
b o t h n eg a t ive and positive implications
t o t h em. W h ile dystopia is being asso-
c ia t ed wit h s omething purely negative
an d d ar k, D arryl Chen suggests utopia
is “ t o o id ea lised and usually perceived
as an o ver t ly moralistic tale which can
exis t o n ly in the imagination” (“Produc-
t ive D ys t o p ia”). If we look at the liter-
al d efin it io n of “utopia”, it stands for a
“ n o p la c e” - a society that cannot exist
( T h e Ch a m b ers Dictionary); therefore,
it r a is es a d is cussion whether it should
n o lo n g er b e a model f or an architectur-
al a s p ir a t io n , and if , instead, architects
s h o u ld d es ig n f or dystopia, which rep-
r es en t s a more realistic and relevant
vis io n o f t h e future. Young argues that
t r a d it io n a l a rchitectural methods are
n o lo n g er r el evant, as progress “hap-
p en s t o u s r ather than being shaped by
us”.
[ 14 ]
Ac c o r d in g t o him, by speculation, we
t a ke a n a c t ive role in shaping environ-
men t s a r o u nd us. He uses a phrase
“ exag g er at in g the present” when de-
s c r ib in g h is methods, implying an “ex-
t r a p o la t io n o f present”, which usually
r eveals mo d e rn issues and cultural “id-
io s yn c r as ies ” allowing one to critical-
ly en g a g e with the present in a really
mean in g fu l way, allowing us to take a
lit t le m o r e c ontrol of the futures we
w an t ( “ Liam Young on Speculative Ar-
c h it ec t u r e” ) .
Mic h ael G o r d i n ref ers to a present as a

p la c e “ b eyo n d utopia”, a scenario that
c o mes “ a ft er or before”. He examines
u t o p ias a n d d ystopias by historical con-
d it io n s t h at generated such scenarios,
t h r o u g h s eeking evidence and prece-
d en t s o f b o t h scenarios that took place
s o met im e in our own history. Thus, ac-
c o r d in g t o G ordin, dystopia is a more
c o mm o n s c enario as everything in the
w o r ld is “ mo re likely to go wrong”. He
als o a r g u es that “every utopia always
c o mes wit h its implied dystopia”.
T h u s , an y u topia eventually collaps-
es , b ec o m in g a dystopia, yet, it does
n o t n ec es s a r ily it work the other way
ar o u n d ( 3) .
[ 15 ]
T h r o u g h a s eries of articles and shared
thoughts, founder of Tomorrow‘s
T h o u g h t s T o day, Darryl Chen argues
t h at r ep r es entation of utopia in modern
ar c h it ec t u r al tendencies is ignoring the
c o n t em p o r a r y tendencies. Dystopia, on
t h e o t h er h and, exposes the problems
o f m o d er n /fu ture society, gives a place
fo r h o p e, n ew beginnings and protag-
o n is m ( T o m orrow’s Thoughts Today).
Ch en in t r o d uces the term “productive
d ys t o p ia ” , in which a futuristic scenar-
io is meas u r ed not by its possibility
t o h ap p en , b ut rather by its “ability to
aler t t h e viewer to a more sophisticat-
ed s en s e o f the present, provoking an
ac t io n wit h in a problematic present”
( “ P r o d u c t ive Dystopia”).
Jo n at h a n Lewis also suggests that ev-

er y d ys t o p ia can be cured, and comes
t o a c o n c lu s ion that in each dystopian
n o vel, t h er e is always a protagonist’s
r es p o n s e t o “ameliorate the present
d is c o mfo r t s or prevent, take advantage
o f, o r s imp ly try to survive an impend-
in g c at as t r o p he” (4 6 ).
[ 16 ]
G o r d in s u g g ests that “utopia and dysto-
p ia in p r a c t ice tend to test the bound-
ar ies o f r eality”; thus, utopia tends to
evo lve t o w ar ds ideal but rarely reaches
it , wh ile d ys t opia is always vulnerable
an d s h o u ld be seen as disease, which
c a n b e t r eat ed (6 ). As stated by Tom
Mo yla n , d ys topian narrative enables
r ea d er s t o fin d their way within the con-
d it io n s t h at “mask the very causes of
t h e h ar s h r ealities in which they live”.
D ys t o p ia n vis ion always negotiates the
“ c o n t in u u m between being partly uto-
p ia n an d p ar tly anti- utopia” (1 2 ).
H e als o b elie ves that, although a dys-

t o p ia is a p es simistic representation of
t h e ver y wo rst of social alternatives,
it a lwa ys ma intains a horizon of hope.
D ys t o p ia n n a rratives ensure contradic-
t io n s o f s o c iety that are present in or-
d er t o evo lve an action (1 4 9 ).
Ac c o r d in g t o Chen, to be able to cre-

at e c o n c ep t s f or future architecture,
w e n eed t o lo ok beyond modern trends
in t o s o m et h ing more unprecedented.
D ys t o p ia a llows f or the extraordinary
t o h ap p en , as in fiction anything is pos-
s ib le ( “ P r o d u ctive Dystopia”).
[ 17 ]
C ASE STUDIES
IMAG E OF T H E CITY IN DYSTOPIAN FICTION
Bla d e R u n n er
D ys t o p ia n c ivilization represented in
B lade Runne r criticizes modern society
t h r o u g h exp o sing contemporary issues
an d t en d en c ies. The image of a futur-
is t ic c it y is portrayed in dark colors,
s h o win g t h e city of despair, where ho-
lo g r a m s , d ig ital billboards and a myr-
iad o f ad ver t i sement hides the reality
o f a n u g ly, d ark and depressing archi-
t ec t u r e, wh ic h seemed to be buried in
r u in s o f t h e p ast. This setting itself is a
r eflec t io n o f everything that has gone
w r o n g w it h t he society. The dystopian
fu t u r e o f B lad e R u n n er portrays a city
filled wit h wa ste, pollution, dirt - with
s t r eet s t h a t are f ilthy and f ull of crime,
wh er e p eo p le run like cockroaches on
t h e o ver c r o wded streets, where there
is n o lig h t , n o sun or artificial lighting.
It is a c o n s t a nt night. It is so dark in
t h e c it y, t h at i t almost seems to be pur-
p o s ely h id in g the seemliness of a dys-
t o p ian s o c iet y to make it be less visible
t o a n a ked eye. “Endless rain falls from
t h e p o llu t ed ” clouds f orcing people to
lu r k u n d er a myriad of canopies on the
g r o u n d level of the city. Seung Hyun
P ar k s u g g es t s that the image of the city
in Blad e Ru n n er reveals “an aesthetic of
d ec ay, exp o s i ng the dark side of tech-
n o lo g y, a n d t he process of disintegra-
t io n . It is like a hell on earth, just wait-
in g fo r t h e h o pe of redemption” (9 5 ).
[ 18 ]
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04. “The City of the Blade Runner ”

- Inside Blade Runner 2049.
[ 19 ]
05. “The City of Total Recall”

- Environments and Imagery.
[ 20 ]
Tot a l R ec a ll
T h e fu t u r is t ic city of Tot a l R ec a ll resem-

b les ‘ H a b it a t 6 7 ’ - a multi- level settle-
m en t , wh er e modules varied in size,
s h a p e a n d p osition towards the north,
wer e s t ac ked on top of each other,
fo r m in g a s t ructure that represented
“ a g ig an t ic s culpture of futuristic in-
t er io r s , lin ks , pedestrian streets and
s u s p en d ed t e rraces” (Habitat 6 7 ). Simi-
la r ly, m a n y s tructures presented in the
m o vie Total Rec a ll, were relatively small
mo d u les , w h ich were stacked on top of
ea c h o t h er o r attached to the surf ace
o f lar g er b u ildings, but in more vibrant
an d o r g a n ic ways. Clusters of smaller
d wellin g s s eemed to be growing like
p a r a s it es o n top of larger ones. Such
as s emb lan c e of dwellings suggests an
imp r es s io n o f constant grows and ver-
t ic al exp an s ion of the city, suggesting
t h e la c k o f b uildable space, enforcing
t o u s e o f a n y thing that could allow a
s u ffic ien t s u pport f or new buildings. In
c o mp ar is o n t o Bla d e R u n n er , the future
o f Total Re call seems to be less terrif y-
in g ; t h e c it y i tself shows a certain dy-
n a m is m t h r o ugh a variety of residential
d wellin g s ; it gives a f eeling of a breath-
ab le c it y t h a t is alive.
[ 21 ]
G h ost in t h e Sh ell
T h e c it y o f Gh ost in t h e Sh ell is f illed

wit h h o lo g r ams, which are enormous-
ly la r g e an d occupy all empty spaces
o f t h e c it y. T he entire city seems to be
a live an d a lways in movement.
In c o mp ar is on with the two previous

c as e s t u d ies , the city of Ghost in the
S h ell s eem s to be quite normal and
o ver a ll h ea lt hy and functional. There
a r e o f c o u r s e similarities, represented
in h o lo g r ap h ic images which seem to
b e t h e s ize o f skyscrapers. This discuss-
es an in t er esting idea of the aesthet-
ic fu t u r e o f architecture. It suggests
t h a t a r c h it ec ture can be simplif ied to
b as ic s h a p es , as it will be impossible
t o ad mir e it , when it is covered with
b illb o ar d s and all the attention is be-
in g d r a wn t o the surrounding advers-
t is emen t s . It is important to mention
t h a t t h e few scenes took place in Hong
K o n g , wh ic h was selected for its resem-
b lan c e t o a futuristic city and particu-
la r ly a d ys t o pia (“Filming Locations of
G hos t In The Sh ell ”).
[ 22 ]
06. “The City of the Ghost in the Shell ”

- Behans.
[ 23 ]
07. “The Stacks of the Ready Player One”

- Steven Spielberg’s latest blockbuster.
[ 24 ]
Rea d y P la y er On e
T h e s t o r y fea tures a dystopian vision of

t h e fu t u r e w h ere virtual reality is a part
o f an ever yd ay lif e. This is why there
is n o n eed t o go to school or work, as
ever yt h in g is online in the virtual world
c a lled “ O as is ” (Cline 5 8 ). This suggests
a c er t ain level of neglect for the beau-
t y o f a r c h it ec ture as most people never
g o o u t s id e. Cline does not describe any
c it ies in h is b ook in detail; however, his
s h o r t d es c r iption of the suburban set-
t lemen t is q u ite vivid; it was also illus-
t r a t ed o n t h e cover page of the book
an d feat u r ed in the latest movie trailer.
Clin e d es c r ib es residential settlements

as “ s t ac ks ” , where people live in com-
mu n it ies c o n sisting of trailers that are
s t ac ked o n t op of each other, with a
s t eel s t r u c t u re in the middle providing
s u p p o r t an d holding trailers together.
Ea c h r o o f is f illed with solar panels,
w h ic h p r o vid e essential power for the
u n it s b elo w; there are also tubes, sup-
p lemen t in g t he water and sewer pipes
r u n n in g a lo n gside. The settlement is
filled w it h ev eryday necessities, creat-
in g a c lu s t er of junk, such that even the
s u n c o u ld n o t reach ground levels (2 2 ).
S u c h a t yp e of architecture is assem-
b led p u r ely b y tenants and seems to be
an affo r d a b le residential alternative.
[ 25 ]
[chapter 2]
[ 26 ]
PARASITE
S t a r t in g wit h defining the term para-

s it e, t h is c h apter discusses diff erent
exp lo it at io n strategies, their role in
h o s t -p ar a s it e co- evolution and their
t r a n s la t io n t o architecture, question-
in g if p a r a s it ic structures could occur
as a p a r t o f n atural selection. Following
an alys is o f parasitic tactics and their
p la c e in ar c h itectural design, this chap-
t er d is c u s s es the relevance of those
t yp es o f s t r u ctures to dystopia.
[ 27 ]
A “ p a r a s it e” is an organism that can only
s u s t ain it s o wn existence by benefiting
fr o m o t h er o rganisms, which are usual-
ly c alled h o s ts. “Parasitism” is defined
as a lo n g -t erm relationship between
s p ec ies , in which one organism usually
feed s an d b enefits from another (Ox-
fo r d En g lis h Dictionary). Parasitism is a
c r u el, b u t ad v antageous and necessary
w ay fo r o r g anisms to survive.
A p ar a s it e’ s own survival is very de-

p en d en t o n the host; therefore each
exp lo it ive o r ganism adapts to the host
o ver t im e in order to establish itself,
w h ile t h e vic t im always tries to resist.
A p ar a s it e d emonstrates an oppressive
b eh a vio u r , establishing itself within or
o n t h e h o s t , while a host demonstrates
a d efen s ive behavior as it always tries
t o r es is t p a r a sitic invasion. As stated by
S er g e Mo r a n d, such resilient interac-
t io n s c r eat e contradictory conditions,
fo r c in g b o t h parties to constantly re-
s p o n d t o each other and adapt. Such
a p r o c es s is called a “co- evolutionary
in t er a c t io n ” , which suggests that par-
as it es an d h osts evolve in response to
c o n s t a n t c o mpetition between each
o t h er ( 81) . Such interaction sets the
s c en e fo r a “co- evolutionary scenario”
w h er e t h e h o sts and parasites are end-
les s ly r es p o n ding to the threat provid-
ed b y t h e o p ponent (Sorci 2 6 4 5 ).
[ 28 ]
P a u l S c h m id -Hempel states that all or-
g an is m s a r e involved in “host- parasite
in t er a c t io n s ” , arguing the importance
o f s u c h in t er action for the evolution of
b o t h “ c o mp eting organisms”. He states
t h at as a r es ult of co- evolution, para-
s it es d evelo p an ability to adapt to “any
r es is t an c e o r complications” caused by
t h e h o s t s , w hile hosts improve a re-
s ilien c e t o w ards the invaders. Thus,
b o t h p a r t ic ip ants develop evolutionary
c h an g es ( 305- 3 0 6 ).
P a r a s it ic in t e ractions are very diverse

an d var y fr o m relationships when the
h o s t is eit h er not harmed or also partly
b en efit s fr o m the parasite, to the ex-
t r eme o n es when one party exploits
an o t h er . It is commonly called a host -
p a r a s it e in t eraction (Sorci 2 6 4 5 ). Such
in t er a c t io n s are divided into catego-
r ies , eac h c o nsisting a diff erent type of
a p ar a s it e.
T h e fo llo win g pages describe a f ew

t yp es o f t h e parasites researched for
t h is t o p ic .
[ 29 ]
P H OTESIS [ PHORESY]
In a p h o r et ic association, one organism

u s es a n o t h er f or transportation and
p r o t ec t io n . A good example of phoresy
is b a r n ac les l iving on whales (Schmid-
H em p el 33) .
W h ale b ar n acles are “ectoparasites” -

o r g an is m s t hat live on the surf ace or
o u t s id e t h e h ost. Barnacles attach them-
s elves t o t h e bodies of baleen whales
d u r in g t h e barnacles’ “f ree- swimming
la r va l s t ag e” . This causes nearly no
h ar m t o t h e whale, as barnacles most-
ly s t ay o n t h e surface, not penetrating
t h e s kin o f t he whale. When detached
b ar n ac les d ie (“How Do Barnacles At-
t ac h t o W h ales”).
[ 30 ]
08. “Sketch Inspired by Barnacles”
- Author’s Own.
[ 31 ]
09. “Sketch Inspired by Parasitic
Mushrooms”
- Author’s Own.
[ 32 ]
SAPROPHYTE
An o r g a n is m that “grows on dead or-

g an ic m a t t er .”
“ S a p r o t r o p h ytes” are decomposition

o r g a n is m s , which is why they are cru-
c ia l fo r t h e nutrient cycle (Encyclope-
d ia Br it a n n ic a). Mushrooms as a sap-
r o p h yt e live on decaying trees, feeding
o n t h e n u t r it ions that are still left. They
“ ext r a c t c ar bon dioxide and minerals
fr o m it ” ( E levi tch 3 4 ).
[ 33 ]
PARASITOID
An o r g a n is m that causes harm to the

host.
P a r a s it o id s grow inside or attached

t o a h o s t , and typically kill the host
as an “ o b lig ate part of their life- cycle”
( S c h mid -H empel 2 7 9 ). For parasitoids,
t h e a d u lt s tage is “free- living and the
lar va l s t ag e is parasitic”. This category
t yp ic a lly c o nsists of parasitic insects,
s u c h as w as ps. Parasitoid wasps, more
c lear ly t h eir larvas, are examples of “en-
d o p a r a s it es - parasites that live inside
t h e h o s t ” ( Encyclopedia of Biodiversi-
t y) . T h er e are many types of parasitoid
w as p s ; u s u ally invasion by parasitoid
w as p h a s a response f rom the host that
c a n b e vis ually observed. For exam-
p le, t h e fem ale wasp, which injects her
eg g s in o ak tree f lowers causes a shape
d efo r ma t io n, when “acorns grow into
g alls . T h e gall is a protective growth
t h at is c au s ed by the immature larval
s ec r et io n s ” (“Insects of Scotland”).
[ 34 ]
10. “Sketch Inspired by Galls”
- Author’s Own.
[ 35 ]
11. “Sketch Inspired by Stranger Fig”
- Author’s Own.
[ 36 ]
EPIPHYTE
A p lan t t h at grows upon another plant

o r o b jec t merely f or physical support.
T h e s t r an g ler f ig is a good example of

a p a r a s it ic epiphyte. It starts growing
as a p ar a s it e, eventually turning into a
s elf-s u s t ain ed independent plant. Be-
g in n in g it s life as a sticky seed on a tree
b r a n c h , it d evelops long roots that “de-
s c en d alo n g t he trunk of the host tree,
even t u a lly r eaching the ground and en-
t er in g t h e s oil.” Over time it expands
t win in g r o o t s around the host; this pro-
c es s even t u a lly can kill the host (Putz
781) . W h en t he host tree is dead and
t h e r o o t s t r u cture of the fig is strong
en o u g h , it c an become a self - standing,
s elf-s u s t ain ing plant. Epiphytes use
h o s t s p r im a r ily for support, however,
t h ey a ls o in t ercept light, minerals, and
w at er ( S m it h 7 4 ).
It is imp o r t ant to conclude that even

p a r a s it es b ehave as invaders and are
b ein g p er c eiv ed very negatively. They
p la y a ver y important role in the evolu-
t io n a r y p r o c e ss of organisms, ensuring
a c o n s t an t d evelopment through host
p a r a s it e c o -ev olution.
[ 37 ]
P ARASITIC STRATEGIES
Ac c o r d in g t o Sorci, the success of par-

as it ic in fec t ion can be measured by
t h e “ ab ilit y o f the parasite to establish
w it h in t h e h ost” and the “probability
o f it s fu t u r e expansion and reproduc-
t io n ” . In m o s t cases the host provides
s h elt er an d nutrition supply, while the
p a r a s it e d evelops it is own adaptations,
s u c h a s a d d itional structures to attach
it s elf t o t h e host. A successf ul parasite,
ac c o r d in g t o the author, is a parasite
t h at even t u ally spreads to other hosts
( S o r c i 2647) .
T h r a u t h o r def ines three main stages

o f ad ap t a t io n involved in the co- evolu-
t io n a r y p r o c ess between parasites and
t h eir h o s t s ( Sorci 2 6 4 9 ):
1. Fin d in g a suitable host.
2. E s t a b lis h ing ownership of host re-

s o u r c es .
3. D efen d in g establishment, ensuring

s a fet y fo r r eproduction.
[ 38 ]
T h r o u g h o t h er research, Paul Schmid-
H emp el in d ic ates the f ollowing parasit-
ic s t a g es :
1. “ S elec t io n of a suitable host”, loca-

t io n o f t h e victim.
2: “ In fes t a t ion/establishment” in or
o n t h e h o s t . At this stage the parasite
mu s t at t a c h to the surf ace of the host
o r “ o ver c o me the outer barriers” and
es t a b lis h it s el f safely inside f or f urther
d evelo p m en t . After inf ection, some
ec t o p a r a s it es ensure proper connec-
t io n o n t h e o uter layout of the host by
g en er a t in g s pecial structures that hold
t h em t ig h t .
3: “ G r o w t h .” Once a parasite saf ely es-

t a b lis h ed it s elf, it can expand and de-
velo p b y t a king nutritions and extract-
in g r es o u r c es from the host.
4: “ R ep r o d u c tion.” This step is also de-

t er min ed b y the ability of a parasite to
exp an d a n d survive the resilience of
the host.
5: “ T r an s m is sion.” This is the stage

w h en a p ar a site either grows to estab-
lis h o n an o t her host or is transmitted
t o t h e n ext o ne. This is a very import-
an t s t ep in the relation to expansion
an d evo lu t io n of the parasite (Schmid-
H emp el 38-39 ).
[ 39 ]
12. “Simplified Exploration of
Parasitic Strategies”
- Author’s Own.
[ 40 ]
R E LE V AN CE TO ARCHITECTURE
Mu lt ip le m o dern examples of parasit-

ic b u ild in g s uggest that parasitic be-
h a vio u r o ft en is being adapted to archi-
t ec t u r e. P a r asitic architecture can be
d efin ed as exploitive f orms of structure
t h at b en efit from other buildings by us-
in g t h em in one or another way. Usu-
ally a s s o c ia t ed with something rather
n eg at ive, p arasitic structures can po-
t en t ially b e s een as an architectural in-
t er ven t io n a nd speculatively a natural
w ay fo r a r c h itecture to evolve within
a c o m p ac t c i ty structure. Objectively,
t r u ly p ar a s it ic architecture, which re-
flec t s in vas ive and exploitive behavior,
c a n o n ly exis t in a world with no rules
o r r eg u lat io ns. There also have to be
c er t ain c o n d itions that will trigger such
m u t a t io n s . T herefore, it can truly ex-
p an d a n d evolve in an environment of
d ys t o p ian r eality. Chaotic, unpredict-
a b le n a t u r e is crucial for such archi-
t ec t u r e t o t ake place. Dystopia creates
‘ p er fec t ’ c o n ditions, where architecture
u n fo ld s ad apting to changing condi-
t io n s t h r o u g h its own resilient and ex-
p lo it at ive wa y.
In o r d er t o understand the behaviour

o f p ar a s it ic architecture within dysto-
p ian en vir o n ments, survival strategies
h ave b een r esearched and analysed.
[ 41 ]
INVASION
Allo c at io n / S el ection of a victim. In or-

d er fo r a h o st to be chosen by a par-
as it e, it h as to be suitable for a suc-
c es s fu l es t a blishment. Thus, the host
h a s t o h a ve a saf e hidden space, where
a p ar a s it e c ould safely establish with-
o u t b ein g n oticed or causing distur-
b a n c e t o t h e everyday life of residents
o f t h e h o s t b uilding. An existing build-
in g s h o u ld h a ve a suf f icient area where
t h e in vad er c ould expand in the future.
It als o h a s t o have a visibly stable con-
s t r u c t io n in o rder to serve a parasite as
a s t r u c t u r al s upport and has to be able
t o p r o vid e s uff icient resources, such
as d r a in ag e and electricity, to ensure a
fu t u r e g r o w t h and development of the
p a r a s it e.
E S T ABLISHMENT/OCCUPATION
Aft er s afe establishment, a parasite

b eg in s feed ing on nutritions supplied/
p r o vid ed b y the host, which enables
t h e g r o wt h o f the structure and devel-
o p men t o f future dwellings. Exploita-
t io n o f t h e h ost includes use of exist-
in g d r a in ag e, electrical services and
c ir c u la t io n . Thus, the parasite could
fo r m a r o u n d main circulation passag-
es o r s t a ir c ases, ensuring expansion
o ver m u lt ip le levels. It could grow ex-
t r a b r an c h es enabling it to f eed off the
elec t r ic it y an d drainage, which will al-
lo w it t o d ev elop into suff icient units
w it h g o o d livable conditions. Conse-
q u en t ly t h a t will lead to a creation of
mo r e r es id ential units.
[ 42 ]
EX PANSION
T h is s t ag e includes expansion of a
p ar a s it ic s t r ucture. Its involvement is
p r o vo ked b y responsiveness and ad-
a p t a t io n t o w ards the resilience of the
h o s t . T h is s t age might include intru-
s io n in s id e of the building, where a
p ar a s it e is n o longer established only
o n t h e s u r face of the host. Thus, the
s t r u c t u r e ma y expand into the interi-
o r s p a c es o f the building, starting with
t h e in va s io n of public/main areas, and
m o vin g in t o t he occupation of residen-
t ial ap ar t ments. This could happen if a
p ar a s it e c o u l d introduce more livable
s p a c es a n d extension of existing units
t h o u g h u t ilis ation of common spaces
s u c h as s t a ir cases or additional semi-
levels w it h in the skeleton of a building,
c r ea t in g lo ft apartments.
SOVEREIGNTY
T h is s t ag e is more speculative than

o t h er s ; h o w ever, it still ref lects the
b eh avio u r o f strangler figs, which in
m a n y c a s es becomes a self - sustained
p lan t . T h u s , this stage is suggesting a
s o ver eig n t y of an organism, negotiat-
in g w h et h er parasitic structures could
b ec o m e s elf-suff icient af ter the host
b u ild in g d ies of decay or is demolished
in t h e fu t u r e. This scenario is possible
if a p ar a s it ic structure will expand to
t h e d eg r ee t hat it would be able to sup-
p o r t it s elf.
[ 43 ]
13. “Invasion”
- Author’s Own.
[ 44 ]
14. “Occupation”
- Author’s Own.
[ 45 ]
15. “Expansion”
- Author’s Own.
[ 46 ]
16. “Sovereignty”
- Author’s Own.
[ 47 ]
[part 2]
[ 48 ]
S IT E AND PRECEDENTS
T h r o u g h in vestigation of case studies

a n d s it e an alysis, this part opens a dis-
c u s s io n t o wa rds the way people occu-
p y b u ild in g s and take an active role in
s h a p in g s p a ces around them in order
t o imp r o ve living conditions. Such par-
a llels a r e important for examination of
a r c h it ec t u r al behavior in the anarchic
c o n d it io n s o f dystopia. Thr following
p ar t s t u d ies how cultural implications
r es o n a t e w it h our perception about the
u t ilis at io n o f spaces, spatially altering
c o n ven t io n a l mentalities regarding the
r o le a n d m eaning of architecture.
[ 49 ]
[chapter 3]
[ 50 ]
S T R ANGER THAN FICTION
W e ar e livin g in the age when emerging

t en d en c ies a re stranger than f iction.
Beh in d t h e s cenes of our everyday lif e
lie a lt er n at iv e worlds that are dark-
er a n d m o r e terrif ying than f iction, as
t h ey ar e r eal and present. This chapter
in ves t ig at es such case studies - plac-
es , t h a t s p eculatively represent and
r es em b le d ystopias, scenarios where
ar c h it ec t u r e emerged responding to
w o r s en in g h ousing conditions. It raises
q u es t io n s ab out what can be learned
fr o m t h e n o n- f ictional dystopian prec-
ed en t s a n d h ow these ideas can be ma-
t er ialis ed in the architecture of a hypo-
t h et ic a l fu t u r istic scenario.
[ 51 ]
CASE STUDIES
H O NG K O NG ROOFTOP DWELLINGS
Ro o ft o p d w ellings are one of the most

c o m m o n examples of emerging struc-
t u r es in H o n g Kong. They can be found
in t h e o ld er urban areas, usually locat-
ed o n t o p o f tenement houses built in
t h e 1940s a n d 1 9 5 0 s (Wu 2 4 6 ). Roof top
s t r u c t u r es u sually are being built f or
t h e p u r p o s e of living in them, however
s o m et im es a s rental properties. Being
c o n s t r u c t ed without approval of the
g o ver n men t , rooftop apartments have
b ec o m e an ill egal alternative for those
wh o ar e “ n o t eligible for social hous-
in g o r u n a b le to aff ord a better living”
( W u 246) . Although rooftop dwellings
“ em er g ed as a result of a housing cri-
s is ” a n d ar e considered to be slums,
t h ey s er ve a s a temporary solution to
a h o u s in g s h ortage and “provide addi-
t io n al h o u s ing options” within urban
a r eas ( “ H o n g Kong Roof top Slums”).
Ro o ft o p h o u ses are considered to be

t em p o r a r y; however such dwellings
h ave b een in Hong Kong for more than
h alf a c en t u r y and as stated by Ruf ina
W u , ar e mo s t likely not going to be de-
m o lis h ed in t he near future (Wu 2 4 6 ).
[ 52 ]
17. “Rooftop Slums”

- CNN.
[ 53 ]
Alt h o u g h , H o ng Kong’s government has
a t o ler an t attitude towards rooftop
s t r u c t u r es , it has been decided that the
s t r u c t u r es w i ll be demolished if there
is a p ar t ic u lar threat to a third party
( W u 254) . Consequently, the rooftop
c o mm u n it ies have a unique place in the
r es id en t ial architecture of Hong Kong,
b ein g illeg al, yet tolerated by the gov-
er n men t .
As m en t io n ed above and described

b y Ru fin a W u, rooftop houses usually
ar e lo c a t ed on top of tenement hous-
es , wh ic h a r e old apartment blocks,
u s u a lly “ 5 t o 6 storeys high”. They are
c o mm o n ly in poor decaying conditions,
as m o s t o f t hem were built more than
70 year s a g o . The demand for housing
in H o n g K o n g is so high, that a cluster
o f r o o ft o p h ouses can f orm a village,
w h ic h c a n o c cupy the entire roof of a
lar g e b u ild in g. One of the biggest roof -
t o p villa g es is situated on a roof of a 1 2
s t o r ey b u ild ing, in which the elevator
o n ly g o es t o level 1 1 , f orcing rooftop
t en a n t s t o u se a f ire escape to access
t h e r o o f. T h e settlement is 7 0 0 meters
s q u a r e, an d is located in the Shui Po
D is t r ic t . An o t her village, considered to
b e t h e la r g est rooftop community, lo-
c a t ed in t h e Yau Tsim Mong district. It
h a s a n a r ea o f “1 1 4 5 square meters with
mo r e t h an 35 domestic units ranging
fr o m 3 s t o r ey s high” which are linked
b y “ t h e m a ze like system of corridors
an d s t a ir s ” ( Wu 1 4 5 ).
[ 54 ]
18. “Rooftop Slums Study”
- Author’s Own.
[ 55 ]
19. “Rooftop Slums Study 2”
- Author’s Own.
[ 56 ]
Nu m er o u s c orridors connect all the
s p ac es t o g ether; some multi- level
d wellin g s r equire small ladders to pro-
vid e a c c es s between f loors. Roof top
h o u s es a r e usually connected to their
h o s t b u ild in g’s electrical, water and
s ew ag e n et works, and their inhabitants
p a y t h e s a m e utility f ees as other build-
in g r es id en t s (1 4 5 ).
R o o ft o p h o u ses mostly are being built

u p fr o m s c r a tch out of scrap materials
an d left o ver s by immigrants or margin-
alis ed an d low- income families (“Once
U p o n a Ro o ft op”). Most houses are one
s t o r ey t a ll a n d are quite small, ranging
in s ize fr o m 3 0 to 8 0 square meters.
D u e t o t h e s mall size, apartments are
u s u a lly q u it e crowded and f illed f rom
t o p t o b o t t o m with everyday necessi-
t ies . T h er e are no wasted or purpose-
les s s p a c es , as every area is being used
fo r d iffer en t purposes. As such, every
w all w ill h ave hangers or multiple shelf
u n it s . S o m e houses have loft floors or
s emi-levels , usually used as sleeping
o r s t o r ag e ar eas, that can be accessed
b y a la d d er . L evels are also introduced
o n t h e ext er i or, creating multi- leveled
d wellin g s wit h spaces outside that can
b e a c c es s ed by a staircase. In some
c a s es , h ig h er roof space or a separate
s p ac e n ea r b y is used as a courtyard to
h a n g c lo t h es or f or kids to play or as
s t o r a g e ( W u 1 4 6 ). Overall, there is an
imp r es s io n of multi- levels and struc-
t u r es s eem t o spread quite randomly,
o c c u p yin g an y available space.
[ 57 ]
H o u s es h a ve brick or concrete walls and
s h eet met a l roofs that are pitched at
a s lig h t an g le. Windows and doors are
u s u a lly p u r c hased at markets or f ound
o n t h e s t r eets of Hong Kong (“Hong
K o n g Ro o ft o p Communities”).
T en an t s o f r oof top slums mostly in-

c lu d e lo w-in come f amilies who have
b een livin g in roof top dwellings for
mo s t o f t h eir lives; some apartments
h a ve b een u s ed by several generations.
T h er e ar e a ls o migrants who rent those
ap ar t men t s t emporarily in hope of a
b et t er livin g i n the future. As much as
r o o ft o p h o u ses resemble slums, and
r ep r es en t a pure manifestation of the
h o u s in g c r is is, people seem to love it
as it is t h eir home and they treat the
c o mm u n it y as their family.
R o o ft o p h o u ses are an architectural

p h en o m en o n , representing everything
t h at c an g o wrong with urban houses,
b u t a t t h e s ame time being a produc-
t ive s t r u c t u r e, providing an alterna-
t ive s o lu t io n to a housing crisis. Roof -
t o p s t r u c t u r es illustrate what happens
in a r c h it ec t ure, when everyone have
a willin g n es s to live in an urban area,
w h ic h c an n o longer support any new
h o u s es , t h a t new structures appear on
t o p o f exis t ing buildings. Such f orms
o f emer g in g architecture could have a
p la c e in a c o ntemporary world, if there
w er e n o r eg u l ations or if it was mental-
ly ac c ep t ed and considered normal.
[ 58 ]
20. “Rooftop Slums Study 3”
- Author’s Own.
[ 59 ]
K OOWLOON CITY
T h e K o w lo o n Walled city was one of the

g r eat es t an o malies of the world’s his-
t o r y. It r ep r esents a pure manifesta-
t io n o f an ar c hy, associated with all that
wa s d a r kes t and most threatening. The
wa lled c it y was one of the most curi-
o u s a r c h it ec t ural phenomena, a work-
in g m o d el o f a dystopian society. A
“ p er fec t ly” s elf - contained, self- locked
c o m m u n it y, t he city was an organic me-
g a s t r u c t u r e r esponsive to changing re-
q u ir emen t s o f its users, fulf illing every
n eed o f it s in habitants.
T h e K o wlo o n City emerged in the land

t h a t wa s g eographically situated in
H o n g K o n g , b eing under Great Britain’s
ju r is d ic t io n at the same time. Thus,
H o n g K o n g d i d not have political con-
t r o l o ver t h e area, and Britain could
n o t m a in t a in the law, as the city was
t h o u s an d s o f kilometers outside of its
c o n t r o l. S u c h circumstances created
c o n flic t in g c onditions for the creation
a n d d evelo p ment of a lawless commu-
n it y t h a t r ep r esented a true nonf iction-
a l d ys t o p ia . “ The walled city became a
leg al n o -m a n’s- land, a notorious city
o f d ar kn es s and sin” (Girard 6 0 ). It
wa s a ver t ic al urban village, a lawless
la b yr in t h w h ere crime, commerce and
c o m m u n it y c o- existed f or generations”
( “ Cit y o f Im a gination”).
[ 60 ]
21. “The Kowloon Walled City”

- CNN.
[ 61 ]
As s t a t ed b y Vittorio Magnago, at the
b eg in n in g , K owloon was a city built f or
o ffic ials a n d soldiers, and it became
an en c la ve after the New Territories
w er e leas ed t o Britain by China in 1 8 9 8 .
W it h t h e wa ve of new immigrants af ter
W o r ld W ar II and Japanese occupation,
t h e c it y s t a r ted to expand dramatical-
ly, s t r u g g lin g to provide livable spaces.
In t h e ea r ly days, buildings were only
3 s t o r eys h ig h; there was burglary pre-
ven t io n an d health control. Apartments
p o s it io n ed o n the perimeter of the city
h a d fr es h air and views and Kowloon
w as c o n s id er ed an attractive residence.
T h e r a p id p o pulation and urban growth
c o mb in ed w it h the majority of the pop-
u la t io n b ein g working class people,
c o n t in u ed t o aggravate the housing
p r o b lems ( 112).
T h u s , in it ial structures were extend-

ed w it h t h e assumption that buildings
mig h t g r o w allowing a f ew storeys to be
ad d ed la t er o n. By 1 9 5 7 many similar ac-
c o mm o d a t io ns had been built, without
c o n s id er at io n of “basic standards and
c o mm u n it y s paces. With the exception
o f a s t r ic t h eight limit of 4 5 meters due
t o a p r o xim ity of an airport, the Hong
K o n g g o ver n ment struggled to enforce
an y o t h er b u ilding regulations” (Girard
74) . Ar c h it ec ts were not obliged to sub-
mit an y d r a wings prior to construction;
t h er efo r e m o st blocks were built using
s im p le s ket c hes, in order to save time
an d m o n ey.
[ 62 ]
P o o r p la n n in g and usually unorganised
c o n s t r u c t io n resulted in many incon-
s is t en c ies b etween neighbouring build-
in g s . T h u s , buildings were noticeably
d iffer en t in s ize, color and even style,
p o s it io n ed on diff erent levels, with
mis alig n men t of f loors. Some buildings
w er e “ s a n d wiched” between existing
ap ar t men t b locks, with the only way to
exp an d b ein g vertically (Girard 7 4 ).
T h e g r o u n d level was a narrow network

o f “ 30 s t r eets and alleys, some not
mo r e t h a n a metre wide, which became
c o llec t ive s p aces for broken things and
r u b b is h ” . T h ere was electricity and wa-
t er s u p p ly; t his is why pipes and cables
w er e “ r u n n in g through the alleys over
t h e c eilin g , w alls and floors” (Girard 8 8 ).
T h e K o wlo o n City was a great example
o f “ vo lu m et r ic circulation,” where ad-
d it io n al p at h ways and staircases were
b u ilt wh en t hey were required, to al-
lo w fo r eas y access between buildings.
As s u c h , “ u n der constant extrusion of
s t r u c t u r es , g round level could not ac-
c o mm o d a t e heavy circulation”; this is
w h y an “ ad d itional movement system
w as ad d ed ” , providing access to dif f er-
en t levels .
[ 63 ]
22. “Rooftop of The Kowloon Walled City”

- Elite Readers.
[ 64 ]
23. “Rooftop of The Kowloon Walled City 2”

- Elite Readers.
[ 65 ]
A s in g le s t a ir case could link up to “3 to
4 b u ild in g s ” . The internal web of cor-
r id o r s h ad multiple functions; it was
o ft en u s ed a s a marketplace or even
a p lac e fo r a business. Kowloon was a
h o me t o 700 small businesses, includ-
in g a “ t emp le, grocery stores, butcher-
ies an d even musical club.” Some flats
w er e r efu r b ished to accommodate pri-
ma r y s c h o o ls and kindergartens. There
w er e “ even a candy and a metal facto-
r y” ( G ir ar d 11 7 ).
As d es c r ib ed by Gorard Greg, there

w er e als o n egative implications to the
p la c e. T h u s , the Kowloon City was a
h o me t o mo re than 1 5 0 illegal dental
p r a c t it io n er s . Over time, it had become
t h e p la c e fo r “drugs, prostitution, gam-
b lin g an d even drug traf f icking” (1 1 7 ).
T en an t s d es cribe the place as “dirty,
d a r k a n d u n s afe”, f illed with “rats run-
n in g ar o u n d ,” water dripping f rom the
c eilin g an d myriad of cables and pipes
w h ic h u s ed t o spread through narrow
c o r r id o r s . Natural light penetrated to
s t r eet s o n ly i n the places where there
w er e n a r r o w gaps between buildings.
P eo p le w o u ld throw rubbish f rom win-
d o w s ; n o o n e was cleaning it up (“Kow-
lo o n W a lled City”).
[ 66 ]
By it s p eak in 1 9 8 0 , the Walled City was
h o me t o 35,00 0 people and was demol-
is h ed in 1987. As the demolition was
p r o p o s ed , most of the residents took
it ver y em o t ionally (“Kowloon Walled
Cit y” ) . G r eg Girard argues that, al-
t h o u g h K o wloon was always considered
t o b e a s lu m , there was a real sense of
c o mm u n it y among the local residents,
an d a “ m o r e considerable view reveals
a fu lly fu n c t i onal community” with its
o wn s h o p s , p roductive enterprises, wa-
t er s u p p lies and businesses, conclud-
in g t h a t “ t h e city was a victim of over-
s im p lific at io n” (Girard 1 7 2 ).
K o w lo o n c it y is a great example of a
d ys t o p ia n s o ciety and vernacular archi-
t ec t u r e. Amo ng all the things that were
w r o n g , t h er e are design qualities that
c o u ld b e ver y successf ul if implement-
ed in t h e r ig ht way.
Exa m in at io n of precedents allows to

s ee d ys t o p ia in real time, proving that
it d o es n o t r epresent a f uturistic pos-
s ib ilit y, b u t rather a embodies a con-
s eq u en c e of inflicting conditions.
[ 67 ]
[chapter 4]
[ 68 ]
T h e s elec t ed site is located in Hong Kong
- a c o llec t ive place f or structures with
d ys t o p ia n c h aracteristics. The chapter
d is c u s s es t h e captivating architecture
o f H o n g K o n g, which resembles a f utur-
is t ic ver s io n of a modern city, raising
t h eo r ies a n d speculations towards the
id ea t h at H o ng Kong is already moving
t o w ar d s a p r oto- dystopia.
[ 69 ]
T H E FUTURE IS NOW
ARCH IT ECTURE OF HONG KONG
Alt h o u g h t h e architecture of Hong

K o n g is c o n sidered a successf ul rep-
r es en t at io n of contemporary move-
m en t s , in c r easing urban density expos-
es p r o b lem s within the city structure.
As s u g g es t ed by Anthony Yeh, Hong
K o n g h as o n e of the highest urban den-
s it ies in t h e world. Thus, some areas
h ave p o p u la t i on densities of more than
“ 400,000 p eo ple per square kilometer.”
Ar c h it ec t s o f Hong Kong currently seek
s o lu t io n s fo r rapid urban expansion
wit h in t h e c urrent city structure and
h ave d evelo p ed design guidance to im-
p r o ve it s living environments. One of
t h e meas u r es proposed is a creation of
a d d it io n al s paces by “utilising the al-
r ead y-exis t in g areas within buildings,
s u c h as r o o f tops and podiums,” and
“ t r a n s fo r m in g them into livable spaces”
( “ H ig h -D en s it y Living In Hong Kong”).
H o n g K o n g is a place where architec-

t u r e w as an act, a reactive event, rath-
er t h a n a d esigned city space. Struc-
t u r es o f H o n g Kong are a collection of
s p a t ial an d t emporal elements, where
a r c h it ec t u r e needs to be seen through
a d iffer en t p erspective, f or its unsta-
b le n at u r e. T here is no particular style
o r id en t it y t o it, as under a constant
s t r u g g le o f p olitical pressure and lack
o f b u ild ab le land, the city never had a
c h a n c e t o b e planned.
[ 70 ]
Mo s t o f t h e b uildings were designed un-
d er t h e p r es s ure of economical and po-
lit ic al fa c t o r s , resulting in devotion to
c u lt u r al o r c ommunity contexts (Chung
18) .
Ea c h d ec ad e architecture emerged in
r es p o n s e t o historical implications,
r ep r es en t in g a political and economi-
c a l s t a t e r elevant to a particular time.
As a r es u lt of such adaptations, the
ar c h it ec t u r e of Hong Kong has a tem-
p o r al n a t u r e, implying that it emerges
d ep en d in g o n the changing conditions
o f ea c h t ime period. As an author of
Conte mporary Arc h it ec t u re Tod a y Chung
W ah Nan c oncludes, Hong Kong is
“ la c kin g a r c h itectural identity, due to
it s c u lt u r al c omplex history of eastern
c u lt u r e b ein g in constant conflict with
w es t er n in flu ence.” He calls Hong Kong
a “ b o r r o wed place” with a “temporary
p h ilo s o p h y“ t o architecture (1 0 ).
T h e c it y is always under construction,

as t h er e is a constant demand f or new
livab le s p a c es. “From 1 9 6 2 to 1 9 6 6 ” the
u r b an fo r m of Hong Kong was “signif i-
c a n t ly t r an s f ormed when 5 - 6 storey
b u ild in g s w ere displaced by 2 0 storey
ap ar t men t b locks”, which later became
a d o m in an t characteristic of the city
( Mag n ag o 112). Thus, contemporary ar-
c h it ec t u r e o f the city suggests a con-
s t an t d evelo pment.
[ 71 ]
SITE
T h e s it e is located in the urban area

in t h e Yau Ma Tei district. The chosen
lo c a t io n h as been inspired by the near
fu t u r e vis io n of its urban space. Yau
Ma T ei d is t r ict is located in Kowloon
Cit y, H o n g K ong. According to Chung
W a h Na n , t h e area was built between
t h e 1950s a n d early 1 9 6 0 s; those were
year s o f “ t r emendously vigorous con-
s t r u c t io n ” ; t his is why buildings f rom
t h a t er a w o u l d dominate the character
o f m o s t s t r eets (9 9 - 1 0 0 ). Most of the
p ar a s it ic r o o ftop houses are located in
t h is d is t r ic t .
[ 72 ]
T h e s it e it s elf has many tenement
b u ild in g s , which potentially are able
t o r es p o n d t o increasing density and
s u p p o r t lig h t (small- scale) urban struc-
t u r es . T h u s , the site off ers buildable
r o o ft o p s , alleys or other spaces to ac-
c o mm o d a t e t he future design. It has a
vis u al a n d p hysical potential for adap-
t a t io n , in s p iring interaction between
o ld an d n ew, now and then.
T h e s it e is lo cated along Temple Street,

s t ar t in g fr o m Ning Po Street to Nankin
S t r eet . T h e s ite was selected mainly due
t o it s vis u al representation of a dysto-
p ia n vis io n o f the city and its ability to
s u p p o r t p a r a sitic structures.
[ 73 ]
24. “Yau Ma Tei District”
- Authors Own.
[ 74 ]
25. “Kowloon Peninsula”
- Authors Own.
[ 75 ]
26. “ Selected Site, View from Nong Po St.”

- Goggle maps.
[ 76 ]
27. “ Selected Site, View from Nanking St.”

- Goggle maps.
[ 77 ]
Mo s t b u ild in gs of the site are 7 to 9
s t o r eys h ig h ; some of them “were ini-
t ia lly b u ilt w ith allowance to add a few
ext r a levels ” . Cantilevered floors of the
b u ild in g a r e due to a “maximizing us-
ag e o f s p ac e” as land area dedicated
fo r a b u ild in g was quite small; as per
r eg u lat io n s , buildings could project on
t h e s t r eet ( Chung 9 9 - 1 0 0 ). They provide
w ea t h er p r o tection over the sidewalk
an d a d d it io n al floor area.
Q u it e o ft en p eople would try to expand

t h e in t er io r s paces by adding structure
w h er e it wa s possible. Recesses be-
t ween b u ild ing blocks were designed to
allo w fo r n a tural lighting at the stair-
c a s e, wh ic h also provided more natu-
r al lig h t in g and a visual sense of extra
s p ac e.
[ 78 ]
An a lys is o f the selected site helped
t o c r eat e n o t necessarily better, but a
mo r e fu n c t io nal, f lexible and respon-
s ive a r c h it ec t ure f or urban areas of the
c it y.
[ 79 ]
28. “ Site Analisys”
- Author’s Own.
[ 80 ]
T h e s t r eet t ransf orms into a market
s p ac e a t n ig ht time and becomes the
o n ly s h ar ed common space, blurring
b o u n d a r ies between inside and out-
s id e, p r ivat e and public.
[ 81 ]
G a r a g e d o o r s will be open during busi-
n es s h o u r s vi sually transforming quiet
s t r eet in t o a busy market space. The
g r o u n d flo o r is usually designed specif-
ic a lly fo r s mall businesses, shops and
r es t a u r an t s .
[ 82 ]
29. “ Site Analisys 2”
- Author’s Own.
[ 83 ]
[part 3]
[ 84 ]
V IS U AL EX PLORATION AND
E XPERIMENTATION
T h is p a r t ad dresses research through

exp er im en t ation and visual explora-
t io n . U s in g r esults f rom studying prec-
ed en t s a n d site analysis, this part is
fo c u s in g o n testing of ideas and their
imp lem en t at ion to the design, which
is exa m in ed through visual specula-
t io n b y s ket c hes, hand drawings and 3 d
mo d elin g .
[ 85 ]
[chapter 5]
[ 86 ]
EXPERIMENTATION
T h is c h a p t er moves f rom f ictional ideas

t o a p r o d u c t ive speculation, f ocusing on
t h e exa m in ation of parasitic behavior
b o r r o w ed fr o m the strangler f ig and its
a d ap t a t io n t o architecture. This chap-
t er t es t s t h e transition of researched
s u r viva l s t r at egies to a material world,
s t u d yin g t h e development and respon-
s ive evo lu t ion of structure through
t ime, c a p t u r ing moments of change.
[ 87 ]
O u t c o mes r eceived from studying para-
s it es a n d p a r asitic strategies suggested
t h at t h e b eh avior of a strangler f ig was
mo r e “ s u it ab l e” f or the development of
ad ap t ive s t r u ctures and potentially had
a h ig h er p r o bability of transition to ar-
c h it ec t u r e.
Exp er im en t al methods conducted have

b een a c c o mplished by digitally stim-
u la t in g t h e parasitic growth and be-
h a vio r . D ig it al testing has allowed the
exa m in at io n of parasitic development
ag a in s t s im p l y speculating about it, as
it h elp ed t o create an organic struc-
t u r e, w h ic h resembled the behaviour
o f s t r a n g ler figs, resulting in better un-
d er s t an d in g of a parasitic growth. An-
o t h er r eas o n f or using software for this
exp er im en t was to learn and expand
t h e kn o wled g e of 3 D modeling and an-
ima t io n . T h e chosen method was a f i-
n a l r es u lt o f few conducted methods,
in s ear c h o f one that could allow the
c r eat io n o f an organic shape and ani-
ma t io n o f it s growth and expansion in
mo r e o r les s realistic conditions. As a
r es u lt , it h as been decided to use Maya
s o ft w ar e fo r this particular test. An ac-
t u al exp er iment included modeling the
s h ap e, wh ic h would imitate the stran-
g ler fig g r o wt h and its animation, which
w as la t er c a ptured to show the def or-
ma t io n s o f t h e parasite over time.
[ 88 ]
T o imit at e t he behavior of a strangler
fig , fir s t ly, t h e “invisible” path has been
mo d eled o n the simplified site, which
d efin ed t h e r oute along which the struc-
t u r e w o u ld g row. Thus, the generated
s h ap e w as m ostly random, but the di-
r ec t io n o f a growth was determined by
t h e p at h , wh ich led along elevations of
t h e exis t in g building; it was also deter-
min ed b y n atural forces such as grav-
it y. Co n s eq u ently, the growth of the
s t r u c t u r e wa s partly generated, partly
c o n t r o lled b y the modeling technique,
w h ic h w as m ade to test the behavior of
a s t r u c t u r e which is being built by ten-
an t s , b u t s t ill behaves as a living organ-
is m , in p a r t ic ular, unpredictably.
T h e d ig it a l s tructure started as a sin-

g le p o in t o n the roof of the building,
fr o m w h er e it grew its roots in diff er-
en t d ir ec t io n s, imitating the behavior
o f a s t r an g ler f ig, which starts its life
as a s in g le seed, eventually growing
an d s p r ea d in g its roots along the tree
t r u n k. In t h e digital representation of
t h e s it e, ‘ t h e roots’ would spread along
fa c ad es o f t he site facing the street.
T h is met h o d helped to determine how
t h e s t r a n g ler fig would possibly behave
o n t h e s elec ted site, and what kind of
s h ap es it c o uld take, suggesting where
t h e fu t u r e design should potentially
s t ar t fr o m ( r ef er fig. 3 1 - 3 2 ).
[ 89 ]
[ 90 ]
30. “ Experimentation with Organic structure”
- Author’s Own.
[ 91 ]
31. “ Experimentation with Organic structure on the site”
-Author’s Own.
[ 92 ]
32. “ Experimentation with Organic structure on the site 2”
-Author’s Own.
[ 93 ]
T h e p u r p o s e of the following exercise
w as t o exa m ine how parasite growth
c o u ld b e t r a n slated into an architectur-
al fo r m . It h as been achieved through
c o n ver t in g o r ganic shapes into geomet-
r ic fo r ms with Photoshop by drawing
g eo met r ic s h apes over the ‘parasite’ to
g ive it d ep t h and test the interaction
alo n g t h e fa cade of the building. This
t es t h elp ed to understand the f uture
p o s s ib ilit ies of such a structure, as it
vis u ally s u g g ested that the structure
c o u ld n o t s uspend or cantilever f ar
w it h o u t ad d it i onal supports. Therefore,
w h en t r an s lated to residential dwell-
in g s , t h e s t r u cture would not be able to
s u p p o r t mo r e than just one apartment
o r r o o m as it would fall out of balance.
[ 94 ]
O n t h e o t h er hand, the test also implied
t h at if a p ar a sitic structure starts grow-
in g o n o n e s ide, eventually spreading
o n t h e o p p o site side of the site, two
p a r t s even t u ally would merge togeth-
er fo r min g a bridge, that would allow
c ir c u la t io n b etween diff erent buildings
an d a ls o wo u ld provide additional sup-
p o r t s fo r fu t ure expansion.
In o r d er t o ensure a future parasitic

exp an s io n , t he test visually suggests
t h er e h ave t o be extended and exposed
s t r u c t u r al elements, allowing for addi-
t io n a l s p ac es to be build in the future
( r efer fig . 33-3 4 ).
[ 95 ]
[ 96 ]
On the Left:
33. “Digital Exploration of the Parasitic
Behaviour”
- Author’s Own.
On the Right:
34. “ Translation of the Parasite to
Architecture”
- Author’s Own.
[ 97 ]
T h e n ext exercise was created to test
t h e a d ap t a t ion and relevance of par-
as it ic s t r u c t ures to the selected site.
T h e in it ial d esign consisted of a grid
t yp e s u p p o r t structure, which would be
p o s it io n ed in the distance f rom exist-
in g b u ild in g s . The purpose was to pro-
vid e en o u g h lighting f or existing apart-
men t s . T o t est the idea, the simplif ied
ver s io n o f a grid has been modeled and
t es t ed d ig it ally. The aim was to cre-
at e a s t r u c t ure that would serve as a
c a r c as s , a llo wing f or apartments to be
b u ilt wit h in t he grid.
[ 98 ]
T es t in g s u g gested potential unsuc-
c es s fu ln es s and non- applicability of
s u c h an ap p roach, as it did not tru-
ly r ep r es en t a parasitic behavior and
r eq u ir ed t o o much control. Moreover,
t h e d es ig n o f a structural grid, which
w as p u r p o s ely placed in the distance
fr o m t h e exis ting buildings, contradict-
ed t h e n at u r e of parasitic behaviours.
Mo r e s p ec ifically, a parasite cannot be
d es ig n ed wit h consideration of bene-
fit s fo r exis t ing buildings, as it negates
w it h it s o wn definition. The test also
illu s t r a t ed t h at instead of establishing
a p ar a s it e - host relationship, such a
s t r u c t u r e s u ggested presence of an ad-
d it io n al “ o r g anism” between host and
p a r a s it e, c o n sequently suggesting that
p a r a s it ic d w ellings would no longer sit
o n t h e h o s t , but rather on top of that
ad d it io n al s t ructure. Thus, the exercise
s u g g es t ed t h at not the buildings, but
t h e s t r u c t u r e itself should behave as a
p a r a s it e in o r der to establish a success-
fu l h o s t p a r a site relationship to ensure
c o -evo lu t io n (refer fig. 3 5 - 3 7 ).
[ 99 ]
35. “ Adaptation to the Site”
- Author’s Own.
[ 100 ]
[ 101 ]
36. “ Adaptation to the Site 2”
- Author’s Own.
On the Right: 37. “ Adaptation to the Site 3”

- Author’s Own.
[ 102 ]
[ 103 ]
[chapter 6]
[ 104 ]
V IS U AL EX PLORATION
T h is c h ap t er includes drawings ref lect-

in g vis u al experimentation and explo-
r a t io n , w h ic h have been inspired by the
o u t c o mes fr om searching dystopian
p r ec ed en t s , fi ctional and non- f ictional.
Alt h o u g h t h e process was purely exper-
im en t al, it h elped to understand the
c h a r a c t er o f parasitic dwellings.
[ 105 ]
V IS U AL CONCEPT DEVELOPMENT
Exp er im en t ation began with sketching

r an d o m elements of the site and prec-
ed en t s . E lements were then combined,
mer g ed t o g e ther and developed. Al-
t h o u g h t h e p rocess was purely exper-
imen t al, it h elped to understand the
c h ar a c t er o f parasitic dwellings and
t h eir b eh aviour in habitable architec-
t u r e.
V is u a l s p ec u l ation has been achieved

t h r o u g h s ket ches, hand drawings and
P h o t o s h o p s oftware. Such methods of
p r o d u c t ive s peculation helped to visual-
is e r es ear c h ed ideas and to understand
h o w s p a c es might be shaped depending
o n t h eir lo c a tion and utilisation. Thus,
mo r e p r iva t e spaces would be smaller
an d s h elt er ed, while common places
w o u ld b e o p en and easily accessible.
S ket c h in g a ls o helped with speculation
o f h o w b u ild ings might be connected to
ea c h o t h er a nd how apartments can be
c o n n ec t ed t h rough diff erent levels.
Belo w is a s eries of sketches represent-

in g vis u al c o ncept development and vi-
s u al s p ec u lat i on.
[ 106 ]
38. “ Visual Development - Initial Sketches”
- Author’s Own.
[ 107 ]
[ 108 ]
39. “ Visual Development - Initial Sketches 2”
- Author’s Own.
[ 109 ]
40. “Initial Sketch Of Section Through Site”
- Author’s Own.
[ 110 ]
41. “ Concept Design- Section”
- Author’s Own.
[ 111 ]
42. “ Concept- Individual Unit 1”
- Author’s Own.
[ 112 ]
43. “ Concept- Individual Unit 2”
- Author’s Own.
[ 113 ]
44. “ Concept Development, Units”
- Author’s Own.
[ 114 ]
45. “ Concept Development, Units 2”
- Author’s Own.
[ 115 ]
[part 4]
[ 116 ]
FINAL D E S IGN AND CONCLUSIONS
T h e las t p ar t of the thesis describes the

fin al d es ig n , visually representing the
w ay r es ea r c h ed ideas, outcomes of the
exp er im en t ation and testing have been
imp lem en t ed . Following the design de-
s c r ip t io n , t h is chapter summarises all
t h e id eas learned and how they ref lect-
ed t h e m a in research question.
[ 117 ]
[chapter 7]
[ 118 ]
F INAL DESIGN
T h is c h a p t er explains the main design

a n d h o w it r ef lects the research objec-
t ives . It a ls o describes the parasitic na-
t u r e o f s t r u ctures and their adaptive
s t r a t eg y.
[ 119 ]
A p r o d u c t ive speculation process be-
g an wit h t h e translation of parasitic
s t ag es in ar chitecture, determined in
t h e p r evio u s chapters; thus, the final
c o n c ep t wa s born as a result of testing
an d vis u al exploration. The idea was to
c r eat e a s t r u cture that will be fixed to
t h e exis t in g buildings and be able to
s u p p o r t r es idential dwellings.
Fo llo w in g r esearched parasitic strate-

g ies , a t fir s t the intruder needs to find
a s u it ab le s afe place to ensure success-
fu l es t a b lis h ment. Theref ore, a struc-
t u r e b eg in s its life on the roof of the
b u ild in g , wh ere a parasite can hide f or
awh ile.
T o en s u r e a f urther development, a
p a r a s it e n eeds to start feeding on
t h e h o s t . In such a case, the structure
s t ar t s s p r eading its branches towards
p la c es r ic h in resources and beneficial
fo r fu t u r e expansion. Theref ore, the
s t r u c t u r al p arasite spreads towards
t h e m a in s t a ircase from there, where it
h a s a c c es s t o many levels and can start
s p r ea d in g it s roots over the diff erent
flo o r s .
[ 120 ]
S t a ir c as es are also usually a place for
d r a in ag e p ipes and electrical cables,
w h ic h a r e essential f or f ormation of
n ew d wellin gs and apartment expan-
s io n s . T h u s , when the parasite reaches
t h e ma in s t a ircase, the structures start
fo r min g o n dif f erent levels, depending
o n wh ic h r e sidents decide to expand
t h eir a p ar t ments. New spaces could
p o t en t ially have a mixed use f unction,
as t h ey will be built by existing res-
id en t s in o r der to build additions to
t h eir ap ar t ments for decks, shops or to
es t a b lis h b u sinesses.
[ 121 ]
46. “ Parasitic Steel Structure”
- Author’s Own.
[ 122 ]
47. “ Evolution of the parasite”
- Author’s Own.
[ 123 ]
T h e d es ig n r epresents parasitic struc-
t u r es h o s t ed mainly on the f acades of
t h e b u ild in g s facing the street. Spaces
ar e c o n n ec t ed together by bridges and
p a t h wa ys .
T h e g r o w t h o f a parasite and f ormation

o f n ew s p ac es can be easily observed.
S u c h a s eq u ence of images [ Fig. 4 7 ]
s h o ws t h e c o nstruction in process and
h o w d wellin g s start taking shape, even-
t u ally fo r m ing apartments. It visually
illu s t r a t es h ow the “disease” spreads
ac r o s s t h e s t reet inf ecting another side
o f t h e s it e, eventually bridging struc-
t u r es t o g et h er, f irst through one level
an d a ft er w ar ds through another, f orm-
in g a b r id g e that provides not only the
c o n n ec t io n between structures, but
ad d it io n al living areas for f uture busi-
n es s es .
T h e p u r p o s e of the design was to po-

t en t ially p r o v ide more spaces for busi-
n es s , c o mm on spaces and allow ex-
p a n s io n o f existing apartments. The
aim w as t o create new living spaces
an d s p a c es t hat would bring people to-
g et h er , c r eat i ng a stronger community,
b len d in g b o undaries between outside
an d in s id e, p rivate and public.
[ 124 ]
48. “ Architectural Section”
- Author’s Own.
[ 125 ]
49. “ Architectural Plan”
- Author’s Own.
[ 126 ]
50. “Enlarged Architectural Plan.”
- Author’s Own.
[ 127 ]
T h e fin a l d es ign balances on a fine line
b et ween t h e beautiful and the horrif-
ic . T h e m a in parasitic structure sugges-
t ively is b ein g built of steel beams and
c o lu m n s o f d i f f erent shapes and sizes,
w h ic h a r e b o l ted and welded together
b y t en a n t s . Individual units and apart-
men t ext en s ions are being built with-
in t h e p a r a s i tic structure; thus para-
s it ic s u p p o r t ive structures will spread
w h er e o c c u p ants will build new spaces.
S u c h a d es ig n suggests that new dwell-
in g s a r e b u ilt f rom any material that
p eo p le c o u ld gather f rom the streets;
t h u s t h er e always will be something
fr o m wh ic h t o build. Such construction
en s u r es a c o - evolution of buildings as
it a llo w s a p arasite to grow and expand
w h ile exis t in g buildings also are being
exp an d ed o u tward to the street until
t h ey even t u ally meet each other.
T h eo r et ic ally, the structure may be-

c o me in d ep endent if it expands into the
in t er io r s p ac es of the building, starting
w it h t h e in vasion of public/main areas,
an d mo vin g into the occupation of res-
id en t ial a p ar tments. This could happen
if a p ar a s it e could introduce more liv-
ab le s p a c es and extension of existing
u n it s , t h r o u gh utilisation of common
s p ac es s u c h as staircases or addition-
al s em i-levels within the skeleton of a
b u ild in g , c r eating lof t apartments.
[ 128 ]
T h e fin a l d e sign solution introduces
n ew w ays o f space perception by off er-
in g a n o n -c o nventional strategy for ex-
p lo it in g b u ild able space, where a specu-
lat ive a p p r o ach of architecture of ‘what
if’ h as b een c onducted through artistic
met h o d s t o a nticipate the buildable and
fu n c t io n a l features of human- centered
c o n s t a n t ly evolving development.
T h is s elf-e volving, self - organised

d wellin g n eg otiates the boundaries be-
t ween p r ivat e and public, inside and
o u t s id e, s t at ic and active, representing
n o t a b u ild in g, but the entire urban in-
fr a s t r u c t u r e that can engage with the
s u r r o u n d in g s. As such, the project em-
b o d ies t h e c ontradictory nature of an
evo lvin g o r g anism that is always com-
p let e, yet is always unf inished. It ex-
p a n d s o ver t ime adapting to constantly
c h an g in g c o nditions and needs of the
o c c u p a n t s ; t h us it always seems to sug-
g es t fu r t h er development and growth.
It is an o r g anism in which growth is
d r iven b y individual and community
n eed s r es u lt ing in creation of a variety
o f s p ac es an d quite successf ul interro-
g at io n b et w een them. Such a f lexible
s t r u c t u r e c an always adapt to new ten-
d en c ies , b u ilding methods or innovative
ma t er ia ls ; t h erefore it can always stay
r elevan t an d depending on the size of
exp an s io n , when existing buildings die
o f d ec ay, it can completely “swallow”
an y s t r u c t u r e that is lef t and eventual-
ly b ec o m e a self- standing community,
w h ic h is n ever static.
[ 129 ]
[ 130 ]
[ 131 ]
51. “ Main Perspective”
- Author’s Own.
[ 132 ]
On the Left: 52. “ Main Perspective”
- Author’s Own.
53. “ Captures of Individual Units”

- Author’s Own.
[ 133 ]
[ 134 ]
54. “Parasitic Bridge”
- Author’s Own.
[ 135 ]
[ 136 ]
55. “Bridge - Enclosed View”
- Author’s Own.
[ 137 ]
[ 138 ]
56. “Bridg e - Enclosed View - Rear”
- Author’s Own.
[ 139 ]
[part 5]
[ 140 ]
57. “Concept Development - Parasitic Slums”
- Author’s own.
[ 141 ]
[reflective summary]
[ 142 ]
T h e p r ima r y questions this thesis aimed
t o ad d r es s ar e:
H o w c an p ar asitic dwellings be reimag-

in ed t h r o u g h futuristic ideas and be-
c o me an em erging architectural solu-
t io n fo r in c reasing density in urban
ar eas ?
W h a t is t h e importance of understand-
in g d ys t o p ia in order to reimagine ar-
c h it ec t u r e? What can be learned f rom
c o n t em p o r a r y dystopian precedents?
H o w c an t h es e ideas be materialised in
t h e a r c h it ec t ure of a hypothetical fu-
t u r e s c en a r io?
W h a t d efin es parasite and how parasit-

ic s u r viva l t actics can be applied to ar-
c h it ec t u r e? What defines parasitic ar-
c h it ec t u r e a nd how relevant are those
t yp es o f s t r uctures to dystopia? How
c a n p a r a s it ic architecture and dystopia
b e p er c eived in a functional or produc-
t ive w ay, t u rning what are seeming-
ly n eg a t ive, reactive phenomena into
p o s it ive p r o a ctive ones?
[ 143 ]
T h e t h es is h as studied aims and objec-
t ives , s u c h a s analysis of parasitic re-
lat io n s h ip s and has speculated upon
an d t es t ed h ow such strategies can be
ap p lied t o a r chitecture. In order to cre-
at e a d ap t ive architectural solutions,
mo d er n ar c h itectural conceptions have
b een r ec o n s idered through the analy-
s is o f d ys t o p ian science fiction and par-
as it ic b eh a viour. The thesis reimagined
ar c h it ec t u r al objectives, such as struc-
t u r e, en velo pe, f unctionality and con-
s t r u c t io n m e thods, which have been
r eflec t ed in t he f inal design, mimicking
p a r a s it ic b eh aviour under harsh dysto-
p ia n c o n d it io ns.
T h r o u g h r es earch, analysis of case stud-

ies a n d exp er imentation, this thesis has
exp lo r ed m ethods to design architec-
t u r al alt er n atives, negotiating possibil-
it ies o f t h e u nconventional in architec-
t u r e. T h e t h esis tested and examined
an in n o va t ive residential solution by
t r a c in g t h e evolutionary behaviour of
o r g a n is m s in order to speculate on
h o w a r c h it ec ture would behave under
h a r s h c o n d it ions. Thus, the f inal design
b ec a m e a n embodiment of researched
id eas a n d t heir adaptation. Further-
mo r e, t h r o u g h acknowledgement of the
r o le an d p lace of science f iction and
t h e p a r a s it ic nature in the architectur-
al field , t h is thesis investigated how
p a r a s it ic r es idential dwellings could be
r eim a g in ed through dystopian reality
an d b ec o m e an emerging architectural
s o lu t io n fo r high density urban areas.
[ 144 ]
T h r o u g h a n alysis of precedents, such
as K o w lo o n City and rooftops in Hong
K o n g s t r u c t u res, the thesis negotiated
‘ s u it a b le’ c o nditions that can enf orce
ar c h it ec t u r e to develop and adapt to
c h an g in g en vironments using its own
s u r vival s t r at egies. Thus, the thesis ex-
p lo r ed t h e image of architecture that
c o n s t a n t ly n eeds to evolve, changing
o ver t ime, r esponding to constantly
c h an g in g s u r roundings and adapting to
n ew t en d en c i es and needs of the occu-
p a n t s a n d h ow they tend to transform
s p ac e a r o u n d them in search of a bet-
t er o r a lt er n ative way of living.
T h e fin a l d es i gn represents a self - build

p a r a s it ic s t r ucture, a self - sustained ar-
c h it ec t u r a l form that evolves through
r es p o n s e a n d adaptation to the chang-
in g en vir o n m ent. Thus, it creates flex-
ib le a r c h it ectural f orms, capable of
ad ap t in g t o the built environment,
w h ic h c a n b ecome a low cost self- sus-
t a in in g a lt er native solution for dense
u r b an a r eas with limited space. This
t h es is exa m ined how architectural in-
t er ven t io n s c an be designed to actively
c r eat e a b et t er environment.
[ 145 ]
[conclusion]
[ 146 ]
An a r c h it ec t ural space is a product of
a c o n s t an t interaction of tensions and
c o n t r ad ic t io ns, where the physical is in
a c o n t in u o u s relation with social, polit-
ic a l an d c u lt ural dimensions. This the-
s is ad vo c at ed for innovative solutions
in a r c h it ec t u re, arguing that tradition-
al a p p r o ac h es may no longer be rele-
van t , a im in g to address and exaggerate
is s u es o f t h e present through analysis
o f p r ec ed en t s and fictions in order to
r eflec t b a c k and create a design that is
a m o r e s u c c essf ul and adaptive type of
s t r u c t u r es .
T h r o u g h t h e research, methodology
an d exp er imentation the thesis allowed
t h e r ead er t o mentally travel to an al-
t er n a t ive r ea lity, where dwellings exist
w it h o u t a r c h itects, where architecture
c o u ld m u t a t e and alter itself driven
b y c o m m u n it y needs and the creativi-
t y o f it s t en ants. The thesis was driv-
en b y t h e in tention to create a space
w h er e a r c h it ecture could evolve to lev-
els wh er e it is behaving as a living or-
g an is m a n d it is hard to tell whether
it is b ein g b uilt or if it has developed
it s o wn c o n s ciousness. Through exper-
imen t at io n and visual exploration, this
t h es is h as t e sted if parasitic types of
d wellin g s c o uld be a solution f or urban
ar eas o f t h e f uturistic dystopian reali-
t y alt er n at ively providing mode livable
s p ac es . T h r ough speculation and re-
s ear c h ed id eas this thesis tested archi-
t ec t u r e t o it s limits, creating types of
s t r u c t u r es t h at are always relevant.
[ 147 ]
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[ 152 ]
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[ 153 ]
LIST OF FIGURES
All images presented as part of the November

Review are marked with an asterisk.
Fig 01.* “The Main Perspective.” Author’s Own.
Fig 02. “Concept Development.” Author’s Own.
Fig 03.* “Concept Development.” Author’s Own.
Fig 04. “The City of the Blade Runner.” Rogers,

SA. “Inside Blade Runner 2049: Miniature Sets
of Los Angeles by Weta Workshop”, Sculpture
& Craft in the Art category, Web Urbanist,
<https://weburb anist.com/2017/11/20/inside-
blade-runner-20 49-miniature-sets-of-los-ange-
les-by-weta-workshop/#>.
Fig 05. “The City of the Total Recall.” “Environ-

ments and Imagery in Chung Kuo”, Of Gifts and
Stones, 25 Sep. 2012
<http://www.ofg iftsandstones.com/environ-
ments-and-imagery-in-chung-kuo/>.
Fig.06. “The City of Ghost in the Shell.” Behans,

<https://www.behance.net/gallery/48849457/
Ghost-in-the-shell>.
Fig.07. “The Stacks of the Ready Player One.”

“Columbus is central to Steven Spielberg’s
latest blockbuster, Ready Player One,” Movies,
Columbis Navigator, <https://www.columbus-
navigator.com/ready-player-one-columbus/>.
Fig. 08.* “Sketch Inspired by Barnacles.” Au-

thor’s Own.
[ 154 ]
Fig. 09.* “Sketch Inspired by Parasitic Mush-
rooms.” Author’s Own.
Fig. 10.* “Sketch Inspired by Galls.” Author’s

Own.
Fig. 11.* “Sketch Inspired by Stranger Fig.”

Author’s Own.
Fig. 12.* “Simplified Exploration of Parasitic

strategies.” Author’s Own.
Fig 13.* “Evasion.” Author’s Own.
Fig 14.* “Occupation.” Author’s Own.
Fig 15.* “Expansion.” Author’s Own.
Fig 16.* “Sovereignty.” Author’s Own.
Fig. 17. “Rooftop Slums.” “Slums with pent-

house views hig hlight Hong Kong’s wealth
divide,” By Shadbolt Peter, CNN, 2 Nov. 2011,
<https://edition.cnn.com/2011/11/01/world/
asia/hongkong-rooftop-slums/index.html>.
Fig. 18.* “Rooftop Slums Study.” Author’s Own.
Fig. 19.* “Rooftop Slums Study 2.” Author’s

Own.
[ 155 ]
Fig. 20.* “Rooftop Slums Study 3.” Author’s
Own.
Fig. 21.* “The Kowloon Walled City.” The dens-

est settlement in the world, CNN 31 Mar.
2014, <https://edition.cnn.com/travel/gallery/
kowloon-walled-city/index.html>.
Fig. 22. “Rooftop of the Kowloon Walled

City.”Shoking Photoes of China’s Lawless Kow-
loon Walled City, Elite Readers, <https://www.
elitereaders.com/photos-lawless-kowloon-
walled-city/>.
Fig. 23. “Rooftop of the Kowloon Walled City

2.”Shoking Photoes of China’s Lawless Kow-
loon Walled City, Elite Readers, <https://www.
elitereaders.com/photos-lawless-kowloon-
walled-city/>.
Fig. 24.* “Yau M a Tei District.” Author’s Own.
Fig. 25.* “Kowloon Peninsula.” Author’s Own.
Fig.26.* “ Selected Site, View from Nong Po

St.” View on the Temple St. from the intersec-
tion of Temple St. and Nong Po St., Google
maps.
Fig.27.* “ Selected Site, View from Nanking

St.” View on the Temple St. from the intersec-
tion of Temple St. and Nanking St., Google
maps.
Fig. 28.* “ Site Analysis.” Author’s Own.
[ 156 ]
Fig. 29.* “ Site Analysis 2.” Author’s Own.
Fig. 30.* “ Experimentation with Organic struc-

ture.” Author’s Own.

ture on the site .” Author’s Own.

ture on the site 2.” Author’s Own.
Fig. 33.* “Digital Exploration of the Parasitic

Behaviour.” Author’s Own.
Fig. 34.* “ Translation of the Parasite to Archi-

tecture.” Author’s Own.
Fig. 35.* “Adaptation to the Site.” Author’s

Own.
Fig. 36.* “Adaptation to the Site 2.” Author’s

Own.
Fig. 37.* “Adaptation to the Site 3.” Author’s

Own.
Fig. 38.* “ Visual Development - Initial Sketch-

es.” Author’s Own.
Fig. 39.* “ Visual Development - Initial Sketch-

es 2.” Author’s Own.
[ 157 ]
Fig. 40.* “Initial Sketch of Section Through
Site.” Author’s Own.
Fig. 41.* “Concept Design - Section.” Author’s

Own.
Fig.42.* “ Concept Design - Individual Unit 1.”

Author’s Own.
Fig. 43.* “ Concept Design - Individual Unit 2.”

Author’s Own.
Fig. 44.* “ Concept Development, Units.” Au-

thor’s Own.
Fig. 45.* “ Concept Development, Units 2.” Au-

thor’s Own.
Fig. 46.* “ Parasitic Steel Structure.” Author’s

Own.
Fig. 47.* “ Evolution of the parasite.” Author’s

Own.
Fig. 48.* “ Architectural Section.” Author’s

Own.
Fig. 49.* “ Architectural Plan.” Author’s Own.
Fig. 50. “ Enlarged Architectural Plan.” Author’s

Own.
[ 158 ]
Fig. 51.* “ Main Perspective. ” Author’s Own.
Fig. 52.* “ Main Perspective. ” Author’s Own.
Fig. 53.* “ Captures of Individual Units.” Au-

thor’s Own.
Fig. 54.* “ Parasitic Bridge.” Author’s Own.
Fig. 55.* “ Bridge - Enclosed View.” Author’s

Own.
Fig. 56.* “ Bridge - Enclosed View - Rear.” Au-

thor’s Own.
Fig. 57. Concept Development - Parasitic

Slums.” Author’s Own.
[ 159 ]
Marina Pomigalova
V ic t o r ia U niversity of Wellington
2018
PARASITIC ARCHITECTURE
E M B O D I M E N T O F D Y S T O P I A
[ 161 ]

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PARASITIC ARCHITECTURE

A 120 - p o in t thesis submitted to the

01. “The Main Perspective”

T h r o u g h an alysis of case studies and

T h r o u g h a n alysis of parasitic be-

Bein g an ar c hitectural graduate I came

I d ec id ed t o s et my project not here and

50 yea r s ag o ideas that seem ordinary

T h e r ead er will be taken on the imagi-

T h e a im o f t his thesis is to create an

T h is c h ap t er investigates the intellec-

Au t h o r ’ s a n d artists have always been

Fic t io n s u s u ally actively ref lect mod-

W h et h er it is art, a novel or an archi-

Alt h o u g h t h ese terms are antithetical to

Mic h ael G o r d i n ref ers to a present as a

Jo n at h a n Lewis also suggests that ev-

H e als o b elie ves that, although a dys-

Ac c o r d in g t o Chen, to be able to cre-

Please consult the print version for access.

04. “The City of the Blade Runner ”

Please consult the print version for access.

05. “The City of Total Recall”

T h e fu t u r is t ic city of Tot a l R ec a ll resem-

T h e c it y o f Gh ost in t h e Sh ell is f illed

In c o mp ar is on with the two previous

Please consult the print version for access.

06. “The City of the Ghost in the Shell ”

Please consult the print version for access.

07. “The Stacks of the Ready Player One”

T h e s t o r y fea tures a dystopian vision of

Clin e d es c r ib es residential settlements

S t a r t in g wit h defining the term para-

A p ar a s it e’ s own survival is very de-

P a r a s it ic in t e ractions are very diverse

T h e fo llo win g pages describe a f ew

In a p h o r et ic association, one organism

W h ale b ar n acles are “ectoparasites” -

An o r g a n is m that “grows on dead or-

“ S a p r o t r o p h ytes” are decomposition

An o r g a n is m that causes harm to the

P a r a s it o id s grow inside or attached

A p lan t t h at grows upon another plant

T h e s t r an g ler f ig is a good example of

It is imp o r t ant to conclude that even

Ac c o r d in g t o Sorci, the success of par-

T h r a u t h o r def ines three main stages

1. Fin d in g a suitable host.

2. E s t a b lis h ing ownership of host re-

3. D efen d in g establishment, ensuring

1. “ S elec t io n of a suitable host”, loca-

3: “ G r o w t h .” Once a parasite saf ely es-

4: “ R ep r o d u c tion.” This step is also de-

5: “ T r an s m is sion.” This is the stage

Mu lt ip le m o dern examples of parasit-

In o r d er t o understand the behaviour

Allo c at io n / S el ection of a victim. In or-

Aft er s afe establishment, a parasite

T h is s t ag e is more speculative than

T h r o u g h in vestigation of case studies

W e ar e livin g in the age when emerging

Ro o ft o p d w ellings are one of the most

Ro o ft o p h o u ses are considered to be