farzinfarzin investigates the means by which objects, sites and systems acquire cultural value and examines the representation of value in architectural form. In what unexpected ways might architecture engage questions of history, preservation, and political contingency? Can a method of intervention in these matters be learned from the hairy logic of computational processes?  The studio addresses these questions through the design of spaces, software, and media. 

farzinfarzin was founded in 2008 by Farzin Lotfi-Jam. Lotfi-Jam (b. Tehran) is faculty in the graduate school of architecture at Columbia University and holds advanced degrees from Columbia University and RMIT University in Melbourne, Australia. He is a Fellow of the Akademie Schloss Solitude in Stuttgart and was previously a Sanders Fellow at the University of Michigan. His research has been funded by the Veski organization and the Graham Foundation, and has been collected by the Centre Pompidou in Paris. He has been exhibited at the Storefront for Art and Architecture, the Het Nieuwe Instituut, the Museum of Contemporary Art Detroit, AIGA/NY Annex, the Oslo Architecture Triennale, the Venice Architecture Biennale, and elsewhere. 







Designed and developed with v-a.nyc 



Prototyping Workshop, The Bakery Brooklyn 2015

Participants: Andrew McGurk, Momo Araki, John Arnold, Maksim Drapey, Mitchell Hart, Kyle Hovenkotter, Catherine Jahnke, Mari Kussman, and Hannah Strauss



This workshop borrowed ideas from the gaming industry and tested their capacities as tools, mediums and perceptual devices for the production, representation and possible diffusion of architecture into a virtual reality.


Part design investigation, part technical workshop, participants were introduced to a methodology connecting standard 3D architectural packages with the Unity gaming development platform and the Oculus Rift Virtual Reality Headset. Through lectures, demos and workshops, participants were provided with the conceptual framing and technical knowledge to assist them in the production of rich and interactive games that pushed the conceptual limits of virtual reality.

What new forms of activity can be envisioned for a virtual body, devoid of physical realities, or the burden of sensation? Where does the architectural object stop and its environment start, when one is tasked with the design of a world? What new forms of communication can be envisaged when publishing architectural projects through the medium of interactive games? And how does this all feel, if our exploration of this world is mediated by a Virtual Reality headset?