OTHER SUPERCHARGING THE COMMUNITY
S PA C E
_________ describes a generosity of spirit and a sense of humanity at the core of architecture’s agenda, focusing on the quality of space itself. _________ focuses on architecture’s ability to provide free and additional spatial gifts to those who use it and on its ability to address the unspoken wishes of strangers. _________ celebrates architecture’s capacity to find additional and unexpected generosity in each project - even within the most private, defensive, exclusive or commercially restricted conditions. _________ provides the opportunity to emphasise nature’s free gifts of light - sunlight and moonlight, air, gravity, materials - natural and man-made resources. _________ encourages reviewing ways of thinking, new ways of seeing the world, of inventing solutions where architecture provides for the well being and dignity of each citizen of this fragile planet. _________ can be a space for opportunity, a democratic space, un-programmed and free for uses not yet conceived. There is an exchange between people and buildings that happens, even if not intended or designed, so buildings themselves find ways of sharing and engaging with people over time, long after the architect has left the scene. Architecture has an active as well as a passive life. _________ encompasses freedom to imagine, the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary.
an other space that is in conversation with, emphasising the role of architecture in the choreography of everyday life.
Sketch by Josephine Tyndale-Biscoe from Villa Frere, A Lost Maltese Garden Rediscovered
Guy Debord with Gianfranco Sanguinetti and Alice Becker-Ho, Tuscany 1972
“We don’t think enough about staircases.. We should learn to live more on staircases. But how?” Georges Perec on Stairs from ‘Species of Spaces’
“Granted there is a wall, what’s going on behind it? If I put a picture up on a wall. Then I forget there is a wall.. I now longer know what therse is behind the wall, I no longer know there is a wall... I longer know what a wall is..”
Henry Cartier-Bresson, Séville, Espagne, 1933
“The wall is no longer what delimits and defines the place where I live, that which separates it from the other places.” Georges Perec on Walls from ‘Species of Spaces’
“There isn’t one space, a beautiful space, a beautiful space round about, a beautiful space all around us, there’s a whole lot of small bits of space..” Georges Perec from ‘Species of Spaces’
‘Architecture is a profession trained to put things together, not to take them apart.’ We explore architecture focusing on the scale of the fragment, starting with a very limited vocabulary. We have crushes on buildings, noticing the systematic seduction of some elements. We struggle to avoid obvious repetitions and remove things that are essentially uninteresting, arriving at a collection of ambiguous figures and impossible objects. These elements are what we study, multiply, magnify, and then perform actions through overlapping and juxtaposition of a variety of pieces. So maybe columns, walls, windows, doors and slabs are our most precious tools, our language, the vocabulary we operate. These are very basic elements that we have at our disposal, the instruments we choose to use. Elements that we put in order or slight disorder. - fala atelier from ‘The Circle of Fragments’
Design Project Sem 1 2018
Samuel Ciantar B.Sc 3rd Year