A conception of nomads has been varied. Nomads were often hunter-gatherers who hunted or used local plants to sustain their lives, usually developed by environmental conditions. From a theological background, Abraham became a nomad, which it was his belief in God that made him nomad. For recent days, nomads have been widely understood as a philosophical term too. Among many eminent philosophers, Gilles Deleuze and Jacque Attali’s interpretations of nomadism were illustrious.
Deleuze and Guattari and their seminal work A Thousand Plateaus (1980) referred to the nomads as a ‘cultural norm:’ “… The nomad has a territory; he follows customary paths; he goes from one point to another … although the points determine paths, they are strictly subordinated to the paths they determine, the reverse happens with the sedentary … A path is always between two points, but the in-between has taken on all the consistency and enjoys both an autonomy and a direction of its own. The life of the nomad is intermezzo.” The nomads could be a physical and psychological term, and the “territory” and “path” were thought as both visible and invisible subjects that can interact each other as long as they are ‘connected.’ For them, the connection of ‘points’ was the central idea of understanding the nomads. 
However, for Jacque Attali, in his book l’Homme nomade (2003), he explained the nomads based on their generalities arguing that human beings have always been associated with the nomadic way of life and nomadism would be the essence of humanity. He located the characteristics of the nomads, orthograde posture in humans enabled travelling that encouraged anthropological evolution, nomadism fostered languages, and tribes were made for individuals to travel well. These promoted multiculturalism and international capitalism, which he thought capitalism is domination of “trading nomadism.”
Analogous to what has been studied by Deleuze and Attali might be found readily in these days. We gradually see that people are living as the nomads both culturally and physically. It is easy to know what happened last night on the opposite side of the world through media, we chat on mobile phones and computers, and we can even travel overseas by plane in a single day for studying, business, trip or with any other reasons. Moreover, the average household size has been reduced, so it has also increased the proportion of woman entering the labour force. An international marriage has become common, from which these have promoted individualism as a recent social tendency.   Here we find the middle point between our daily life and Deleuze’s nomadism of the society of control. Although there could be arguments about comprehending the definition of the nomads, perhaps it would give us a little clue that the nomads in our city have potentials to ‘escape.’ 
While we “had ceased to be” in a previous disciplinary society and entered the new phase of societies, the society of control, Deleuze also seemed to admit a sceptical aspect of this transition: “… There is no need to ask which is toughest or most tolerable regime, for it’s within each of them that liberating and enslaving forces confront one another … in the crisis of the hospital as environment of enclosure, neighbourhood clinics, hospices, and day care could at first express new freedom, but they could participate as well in mechanisms of control that are equal to the harshest of confinements. There is no need to fear or hope, but only to look for new weapons. It might be just a natural phenomenon that we do not need to deem it as serious or negative. But, he perhaps argued in favour of the presence of the negativity in our society and seemed to predict the unavoidable incident when the nomads encounter it. In other words, if the society of control is regarded dystopian as discussed, the nomads could be one of the rigid models that have been reached as to what we want for this damp city.
The site of this thesis is a dramatic canal, with ancient origins, cut through the isthmus near Corinth, Greece: the Corinth Canal. It is about 6.3 km long with a water depth of 8 m, and the width varies from a minimum of 21 m to a maximum of 25 m at the surface of the water. It was the inherent character of the canal that it physically and symbolically signifies. Above all, the long distance of the canal stated the idea of radicality; it was enormous regarding its scale and shape. The length that appears to be endless but within the specific endpoints on both sides conveys the “linear sense of historical time” and both a qualitative and quantitative conception of the time. The time could be redefined in this super long path. The narrowness of the canal seemed to indicate the state of vulnerability. By its physical and symbolical restriction (along with the fact that it is not always open to the public), the canal was a ‘closed’ space where people will avoid. So for those who visited there and went through the waterway, what they could experience would be a total banality that it is both static and non-static as it gave an identical view. However, at the same time, a relationship to the outside could also be considered. Whereas the canal appeared to be isolated, it was exposed to the outside since the canal is a tourist attraction. Like how Cristiano Toraldo pointed out the mass tourism in Italy for his Holiday Machine, it is to take advantage of touristic exploitation of the canal. Seeing these qualities, the nomads were anticipated in this site.
While the canal revealed its extreme profile, the Greek philosopher Diogenes of Sinope, also known as Diogenes the Cynic, extended the idea of the radicality of the site. He believed that people should live with nature rather than the systems they created, which were corrupt and it was due to lack of rationality. He was famous for his strange life, and but also infamous for ‘his mission:’ “to demolish the human world.” He mocked Alexander the Great and even slept in a large ceramic jar in the marketplace denying personal assets, from which the nomadic life seemed to be involved in his lifestyle. He has been credited as the first cosmopolitan with his famous quote: “I am a citizen of world,” rejecting to be tied to the particular city-state. He then ended up in Corinth where he found the place was enough to his liking. The connection to the thesis was mainly the dislocation of his lifestyle, rather than his personality or his quote. How he left Athens was analogous to how the nomads left their cities; it was the dystopian societies that made them move.
This thesis is to create a new alternative community, a so-called ‘destination’ for those who want to escape from the dystopian society where we think too hard to change. Following the characteristics of nomads, a multi-levelled condominium or apartment sounded right instead of a single-detached house that is a somewhat traditional way of living. An apartment-hotel (where it is similar to renting an apartment but with no fixed contracts and occupants can check-out whenever they wish) with its autonomy and capacity was chosen. While infrastructure is offered containing numerous public programmes, individuals are given their own houses, from which it was able to manifest a new spatial identity with one of its character: temporary inhabitation.
Except that this thesis adopted the frame of apartment-hotel, it was not mainly studied as to what details were to be embedded as architectural programmes.
A megastructure and landform building were imagined. These drawings were intended to find the cluster particularly in the Corinth Canal, in which such a grand scale would suit the community of nomad. Following the multi-levelled streets of Golden Lane, whereas the Smithsons tried to achieve the broader range of activities in multiple places by going across the city, the collage emphasised on the direct contact and connection with the canal. The buildings were thin and thanks to the very long profile of the canal every level would be correlated with a ‘boundless’ and ‘unlimited’ continuum. Compared to Golden Lane, in which some neglected areas and unwilling segregations due to its ‘branch-like’ sprawling could be expected, the buildings were placed parallel to avoid the carelessness but to offer the linear association.
The buildings of rectilinear and parallel accentuated a human touch, as seen from the construction of the canal in the past. These rectangular objects also opposed an idea of incompatibility between radicalism and realism but to enhance a sense of the theoretical background at the same time. The relationship between landscape and architecture seemed to suggest how a building could be treated as an arbitrator. 
The wall-like megastructure symbolised the aspiration of blocking influences from outer world leaving the middle space as the community just for those who stay in the building. It was a bold manifestation that even though the buildings might attract people, it refused to be exposed but hid something inside. This perhaps implied the acceptance of the nomads, as new humanity, like how the black monolith lead the evolution from the hominids to Homo sapiens in 2001: The Space Odyssey.
Because of the scale of the buildings, a section was cut and used. It was to connect to reality from the collage drawings and to give an idea of how big and how small the buildings and their components are. 
This section contained various functions from an individual living unit to public spaces. Programmes on plans were not considered too much except that the private and public was kept separate by different levels. The programmes for the public were placed randomly. It was to show that the buildings cover the diverse public functions, and so saying any other public programmes would be found elsewhere. However, placement of residential units was contemplated. Private residential units were distributed with four levels (level 3-6, 8-11, 13-16, 18-21) making in-betweens public, and individuals were given a minimal private realm where the room served only a single person, from which it attempted to grant nomads through the notion of heterotopia. All residential rooms were placed opposite to the canal, whereas the corridors in the middle contributed to a social contact. The parallel streets on each level staring each other could give the same view along the waterway to everyone. The proposition of separate and independent inhabitation was incorporated into the idea of apartment-hotel.
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