No-stop City is an unbuilt project and documented in drawings. The drawings show an infinitely extending grid, subdivided by partial lines symbolizing walls, and interrupted only by natural features such as mountains. The photographs portray an endless and rather featureless space in which humans live as campers. Spaces are filled with rocks and branches, small pieces of nature brought inside the artificial world. Tents, appliances, and motorcycles show that basic needs are met, while other drawings show endless grids of bedrooms, perhaps containing the Dream Bed or Safari Chair.
The No-stop City is an instrument of emancipation. Branzi explains: "The idea of an inexpressive, catatonic architecture, outcome of the expansive forms of logic of the system and its class antagonists, was the only form of modern architecture of interest to us. A society freed from its own alienation, emancipated from the rhetorical forms of humanitarian socialism and rhetorical progressivism: an architecture which took a fearless look at the logic of grey, atheistic and de-dramatized industrialism, where mass production produced infinite urban decors." The City frees us with its blankness, its featurelessness, allowing us to be anyone anywhere.
No-Stop City is an ironic critique of the ideology of architectural modernism taking onto its absurd limits: "The real revolution in radical architecture is the revolution of kitsch: mass cultural consumption, pop art, an industrial-commercial language. There is the idea of radicalizing the industrial component of modern architecture to the extreme."
