Modus Operandi all
fail workshop bgk storstrom november 7th29th 2007
how does one teach architecture? how does one learn architecture? these are pivotal questions. what i knew was that i wanted to conduct a workshop in which it would be possible to engage the students in a very immediate way. the problems of architecture are many, it is the domain of everyday life and as such the investigations are in many ways hampered by this intimate knowledge, something which is less evident when fx teaching art. on the other hand, architecture is communicated through a set of relatively fixed conventions, the reasons for which is largely lost on non-architects. in this case, conducting a workshop within very limited time constraints and with a group of people that have no prerequisites, the primary concern of the project is how to enable the pupils to engage directly with the matter, creating architecture, while at the same time ensuring a format which affords them the opportunity to experiment. the project then attempts to provide a framework that affords experimentation, without the need to posess specific design skills.
every action produces a new set of circumstances, a new situation. these situations demand that a stand be taken, that the circumstances are evaluated. through simple movements unfamiliar and unforeseen scenarios and possibilities arise. how are meanings and functions shifted when the house is turned upside down? how is a house turned inside out? what if one imagines the house as a series of hinges? if the house is unfolded and and then folded back in, then what? take posession of the house, produce a shift, try to find an economy in the way the movements are porduced, consider the boundaries of recognition of the house, when is the image of the house too present, when is it too gone? Try to explore the boundaries between the legible and the illegible, in form as well as function. The paradox of architecture that attempts to redefine itself is that it must consider the cognitive implications. it must find a way to shift which produces something new, while retaining a necessary familiarity so that it remains legible.
A HOUSE TURNED ON ITS SIDE, OPENING UP. EXPELLING AND DISPLAYING ITS INTERNALS, SKIN AND SKELETON AS SEPARATE AND DISTINCT SYSTEMS, TOGETHER DELINEATING A NEW SILHOUETTE.
A TOTEMIC HOUSE, COMPRISED OF A SERIES OF SIGNS, A HOUSE THAT POINTS OUTWARD. NOT DEFINED BY A SINGLAR IDEA BUT RATHER STITCHING TOGETHER DISPARATE PIECES. DEFINED BY ADJACENCIES RATHER THAN FORMAL ALIGNMENTS.
The house as a tableau, a considered chaos that carefully balances its constituent parts in a compositional collage of great tension.
A HOUSE OF VIOLENT RUPTURE. THE SECTIONING OF A HOUSE PRODUCES UNEXPECTED RESULTS, AS IT IS PUT BACK TOGETHER A TRACE OF SEVERE BRUTALITY AND ELEGANCE EMERGES.
a rhytmic cascade of volumes. mechanically spaced relations, a machine that unfolds itself, establishing a sequence of solids and voids.
all architecture must fail
Published on Dec 9, 2007