The Cosmicomics bt Italo Calvino are a collection of beautiful stories flowing through the pages with a witty view on science fiction and jokingly deep philosophical insights. The stories flow, but one thing about them stuck with me, teasing my mind and imagination. Doubtlessly that would be the deliberate choice of the autor to give utterly unpronoucable names to all his characters. Qfwfq, Xlthlx, Vhd Vhd, G’d(w)n, Bb’b and Mr Hnw – just to “name” a few.
“It is getting harder on me lately. The hardest thing is the loneliness. Once I used to stand tall, taller than anything on this big square and the bigger the square was getting, the prouder I was. Now I feel like I am disappearing into a pit in the middle of this endlessly big square that keeps me away from everything that could pull me back to life. A pit as deep as my memories and as grave as my sorrow. I weep not for the times that have gone by never to return, but the times that are to come, which I will see, but never really live. Looking forward to a brighter future is what makes a present so exciting. Looking forward to my future… I become desperate.
As digital manufacturing enters the practise of artists, architects and creatives an appealing idea propagates – now you can just press a button and your crazy design gracefully enters the real world. Countless videos show in an almost magical way how fantastic shapes, without any fault or imperfection are effortlessly woven by a regular 3D printer or a more advanced robot arm. A milling machine creates a masterpiece all on its own and a 3D scanner gets all the perfect dimensions and all materials correctly – all of that at the click of a single button. Right.
Now there is nothing surprising about companies wanting to promote their products by demonstrating their flawless operations, but the perversion itself comes when even creatives support that utopian vision. There is this sense of pride when your design has been manufactured in a mystical technological way and it all goes as planned. No humans needed. Right?
This is a story about the everyday lives of every street’s buildings. The happiness and worries of those most prominent residents, who don’t even have a name, but we sweetly call them home.
One of the main reasons why we love cities is because in their royal slowness, they are also so dynamic. Every city changes with its residents, new neighbourhoods pop up, old ones change and so on. One of Europe’s (and not only!) most charming move is the transformation of previously poor and downtrodden areas by artists. As the story goes – a district on the lower end of the spectrum catches the attention of local artists and young people for its low rent prices. The new life in the area inspires many new activities and soon it is the hip place to be.With people on the move, the entire districts changes, but it is only the architecture that remains the same. All the way from Oslo’s Grünerløkka to Berlin’s Kreuzberg, we all know about the social policies that changed their status and the economical aspect to it. This time, we’re looking into the architectural side of the question to see what do buildings have to say about that shift. The following is a conversation we happened to overhear at a street in de Jordaan – Amsterdam’s hippest district, which almost got demolished after WWII for the bad smells of its canals, but now is a blossoming tulip in the capitals garden with property prices sky rocketing.
In today’s conversation we have invited two distinct guests, one based in Spain and another in Austria. The two share a similar intention at their conception and a common start in life, however although both largely succesful now, they occupy a very different status today. In the following quite existential talk between Casa Batllo from Barcelona and Hundertwasserhaus from Vienna, they discuss topics such as concept display, meaning of existence and ways to connect to the public.
It is quite remarkable how we are so obsessed with originality and innovation when it comes to art or most of our daily appliances, but when it comes to architecture the story changes rapidly. In our attachment to the authenticity of the artwork, the personality of the author and the story of the object, we insist on beholding only the original Rembrandt or the original da Vinci, but then why are we so ignorant of the autenticity of the very buildings we live and work in and the entire cities we inhabit?
The Death of an almost eternal city comes with its recognition for UNESCO, or so say the residents of the city of Split, Croatia.
In my previous posts on the series Space in and out of Time I commented briefly on the phenomenon that this specific city of cultural significance exhibits and this time I would like to focus a bit more thorough on the lessons and threats that this precedent teaches and predicts.
I passionately believe in the need for a theory and approach for a building to “grow”, adapt and develop in time and space as fast as society and technology does. I am continuously investigating the extend of oblivion and remembrance needed to foster sustainable urban, architectural and cultural progress.
This present second part of a series of essays named Space in and out of Time discusses a theory of a systematic growth in time of a building, based on extensive precedent research and drawn conclusions. In this part I am seeking a theoretical and design approach to allow for a building to develop in time and space, but still preserve its identity.