Deconstruction doesn’t produce unreal, reality is preserved. I work in the tradition of modernity represented by Alain Robbe-Grillet and the musician Grisset. My interest is to renew the language of architecture by analyzing how new scientific knowledge transforms our understanding of reality. I don’t like to use existing languages, I’m not interested in that notion of architecture seen as fiction or narration that derives from postmodernism.
The lack of oxygen triggers an increase in the level of the erythropoietin hormone. Very bright light blocks the secretion of melatonin. By disassembling a cohesive image of the mountain into chemical particles, we discover a new field of spatial perception that goes beyond sensory borders and into the hormonal system. It opens up an entirely new field of architecture.
Baudelaire was perhaps the first to speak about synthèse – imagination as an outcome of a chemical process – likening art to science. Since then, art has no longer been considered reproduction https://1investing.in/ of the real but rather its synthesis. To synthesize, we first have to bring about a dissociation of the real, breaking down something that initially appears to be whole.
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There is no point in opposing to the practices of those who are fifteen years older than us. They have their way of approaching practice and we have ours. I think that eventually we will be recognized simply through a different approach in terms of content.
Hard Graft, an Austrian leather-goods brand founded in 2006, relies on excellent workmanship and quality materials in its production of timeless articles, indifferent to fashions and designer names. Wallets, laptop cases, travel bags, bags for the gymnasium and the weekend, in leather and felt. Objects designed for men, but in reality genderless, apart from the shoes. A special mention for the camera accessories, in general fairly hard to find. This project is almost the opposite of the Bosco Verticale which we have designed for the Isola neighbourhood, in Milan. This is an unusual project, highly experimental, which is destined for richer clients.
His is the commitment of an authentic researcher, and for him the level of inquiry continues to play an essential role quite apart from the material results of individual projects. To take just one example, Faccin has just opened an exhibition at the Milan Triennale, Made in Slums. Mathare Nairobi, devoted to an assortment of highly unusual objects of which he is not the author, but the collector. Objets trouvés from a place where the glut in consumption produces its most pernicious effects. An African slum that can almost be seen as a submerged iceberg of which the West is the visible tip.
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I believe architecture can intervene in a decisive way in the collective imagination, attenuating social pressures and tensions. Based on these premises, we can operate successfully in a hospital facility, but also in an area impacted by economic crisis. In America the recession is revising scenarios, transforming areas of high residential density into ghost towns. Today we are experiencing a new aesthetics of disappearance. Certainly we will need to rethink the forms of habitation.
This is not far from the spectral music of the seventies by the French composer Gérard Grisset, who decomposed sound into particles in order to analyze them from a microscopic point of view and then recompose them into music. Grisset used spectrograms to analyze the microscopic composition of sound, that he then rebuilt to create a new kind of music with new types of sounds – or actually, the sounds were always the same but in their previous form they couldn’t be heard. Gérard Grisset is one of my favorite musicians, and my architecture could indeed be described as spectral architecture. In response to great demand, we have decided to publish on our site the long and extraordinary interviews that appeared in the print magazine from 2009 to 2011.
“Agitation” is a term that is very rich in meanings. For me, it sums up an active, free worldview, not in line with the dominant thinking. We decided to do an issue on agitation as an antidote to the culture of consensus. I believe that in this historical moment there is a widespread tendency to erase cultural differences, in favor of insipid forms of compromise. I think it is fundamental to get back the energy to produce oblique, transverse thoughts.
Then there are the projects linked to the sea, which might be seen as my most important work so far. One was in Marseilles, was started in 2004 and is only now at the building stage. It is an architectural-shipyard which is destined to be a centre for research and documentation on the Mediterranean region. It is a large C-shaped building which has the sea inside and is covered with a roof which is also used as an exhibition space. The centre is being built in an area where the Mistral wind forms, and then blows right up to the Bocche of Bonifacio, where the architecture linked to the conference centre of La Maddalena is being created. In the Marseilles building, water comes in through two horizontal floors and creates a large sea piazza, which can play host to sailing boats and small passenger ships.
In the long run, clients will understand that there is a difference between solutions that are simply the result of a pre-set personal agenda and those that are custom-built onto the structure of their concerns. And yes, I would very much agree on your reading of our approach as being based on a set of requirements which emerge through discussion and direct engagement. Eyal is my PhD mentor and, yes, he has certainly been an inspiration in terms of my practice.
- The objective was to create a place that would alleviate the sensation of general anguish, through distraction or recreation.
- NOffice is currently working on a spatialization, organizational structures and design for the archive, as well as a physical design for the library, residency and summer academy.
- Objects designed for men, but in reality genderless, apart from the shoes.
- Based on these premises, we can operate successfully in a hospital facility, but also in an area impacted by economic crisis.
- “Agitation” is a term that is very rich in meanings.
The Master is Mario Arcangeli, the founder of a family dedicated to a delicate art, driven by passion and love for the nobility of fibres. A collection of CSS layouts focused on different purposes, coming from portfolio and Pinterest to Metro and personal blogs. Figure out a fantastic collection of UI snippets featuring buttons, loaders among other useful animations. Check out this useful snippet featuring a sign-in & up form using a double slider to switch between forms.
Unknown territory for most, but one where something is moving amongst the garbage and, luckily, not just rats and parasites. I am not sure whether to call my books a work of architecture. However, they could be described as the backdrop of an architectural project, which is concerned with the tracing of individual voices in the production of space. My books are intended to produce a parallel reality with regard to the practice of nOffice. They are geared towards the stimulation of discussion and debate, a cross-fertilizer in the production of an alternative spatial understanding and knowledge.
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In La Maddalena, the large room which had been destined to host the summit is pointing out over the water– and allows for a wide view of all the islands in the archipelago. I like the idea that these buildings are both affected by the same kind of wind. These three rhetorical arguments are all potential dystopias or even possible nightmares.
On patrols, we carry nearly the same equipment the soldiers do, as well as humping our camera gear around. As I said previously, the view from my helicopter was somewhat limited, as interaction with both troops and local Afghans was impossible. Now I have been out and engaged with communities alongside ISAF troops, I have been able to see at first hand the smiles on the faces of the people when a patrol of Afghan National Security Forces and ISAF troops moves through. When I first deployed to Afghanistan, it was so much more kinetic, there were ISAF troops in many locations. Now when I get chance to go out, I am usually in a patrol of mostly ANSF soldiers or police who are doing a fantastic job. On my previous tours I was employed as a helicopter pilot, and I spent a lot of time looking at the battlefield from a very privileged, but shielded point of view.
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It is a project which tries to strike a balance between technocratic rhetoric and the Branzian ideas we discussed earlier. This has been a real challenge, and I have enjoyed it a lot. The ideas of William McDonough and Rifkin are interesting from a political point of view, because they point towards sustainability driven from below. We should all be interested in the fact that a building works like a power plant and that neighbourhoods create local networks for producing, consuming and distributing energy.
Our current projects are ranging from small-scale domestic interiors to galleries to institutional buildings, strategic frameworks for urban areas and the production of future identities of regions, in Austria for example. The way we approach an architectural project is based on the same logic with which we approach a strategic framework design. We are not interested in primarily formal characteristics, but in the development of content-driven realizations of practice in three-dimensional space. One could of course argue that this has always been part of architecture and spatial practice. It is a happy relationship, which I have utilised on many occasions, and sometimes in ways which were exaggerated or exploitative.
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Spatial theory and practice will always be a niche. This is the most extreme approach of all, and the most difficult to deal with, but also the most interesting. It denies that the artificial world exists in some areas and argues that nature should be totally autonomous, and should not be copied, cultivated or reproduced.
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I am no longer sure whether this is always the case. What I attempt to introduce in my recent work is the notion of Crossbench Praxis. This approach is modeled onto the independent politicians in the House of Lords, in the UK.