Showing posts with label Stalker. Show all posts
Showing posts with label Stalker. Show all posts

Monday, April 22, 2019

PORCUPINE


“What really happened to the Porcupine?”
“One day he came back from the Zone and became amazingly rich, amazingly rich. The next week he hanged himself.”

The modern city is drifting away. Together with industry it has proclaimed independence from nature; mechanical man is self-sufficient. No more local knowledge, no more pattern language, but a closed form tightly wrapped in the fictional cloth of the development, the source of all pollution, the exponential one-way drive to self-destruction. 

What are the trees thinking, and the ants? Our roadside-picnic has accelerated the enlightenment of colonialism into the final level, the big-bang, which we cannot even hear. We, who so sensitive even to hear the resonating behind the singing of the birds. We, savages and natives of the big mind, decide not to hear or feel, but to be served numb by our own self-destruction, the development.

To develop into what? It’s not the god’s own image, nor it is the nothingness. We say society and we say country, we say god. And to serve these we say economy. Karl Marx was horribly wrong stating that we must own the means of production. Production on the cost of what? We need to scarify and vote, for what – the self-destruction – the development? The wisest of us never develop, they resonate with the rest. How many of us can really resonate; even with the trees?

So the space is the answer, or aliens picking us up. Leaving all this trash behind, and flying away with the angels. Of course the chosen ones. The chosen people. These guys are bad. They are Hollywood, “entertaining” the human species. Entertaining from what? We need to survive. First comes survival, then comes comfort, then comes beauty. Architecture deals with all of this. Architects are not important, but architecture is. We can survive in beauty along with this one mind. Architecture is the art of reality; there is no other reality than nature. We all resonate with this one mind, if we forget the forgetting – the development.

We have two specialties: destroying ourselves and destroying everything around us. What is left is going into space. Anarchy? Taking control of ourselves instead of production, exploitation. Controlling ourselves in order to be able to resonate. Nation states must be able to go in order to let nature to step in as our countries. Otherwise this is all nonsense. We don’t inhabit the land, we grow from it. Just like the trees.

Thursday, January 7, 2016

ULTRA-RUIN

ARKKITEHTI 6/2015 Finnish Architectural Review
valokuvat | photos AdDa Zei

teksti | text Marco Casagrande



Architecture gives the commands and architects listen. Actually, nature gives the commands and architecture takes form. An architect is a design shaman who communicates with this reality. Design cannot replace reality or nature. Human control must be opened up in order to let nature step in. Architecture must be ruined. Ruin is when man-made has become part of nature.



Architecture is a site-specific instrument through which the great voice of nature starts to resonate and find form. This great voice is weak and needs great presence, sacrifice and sensitivity to be heard. An architect is one of the sensitive beings to hear this voice and protect the sound. Architecture either is or it isn’t. It cannot be speculated. Architecture is a real reality.

“What really happened to Porcupine?”

“One day he came back from the Zone and became amazingly rich, amazingly rich. The next week he hanged himself.”

– Stalker, Andrei Tarkovsky








People live in space and this connection can be art, a higher thing than what could be designed. Architecture is an accident, which is a higher thing than human control. In order to understand the accident and to let life run through it, one must be present. To be present is the key of all art. This crack in human control is the acupuncture point through which the organism of architecture can grow. Biourbanism is a city of cracks. Architecture is a mediator between man and nature, connecting human nature with the rest of nature, reality. Architecture is the art of reality.

Ultra-Ruin is a wooden architectural organism growing from the ruins of an abandoned red brick farmhouse in the meeting place of terraced farmlands and the jungle. The weak architecture follows the principles of Open Form and is improvised on the site based on instincts reacting to the presence of jungle, ruin and local knowledge.








The complex has a variety of multi-functional spaces and platforms that can be activated for different living functions as well as meditation. The spatial continuity between interior and exterior spaces is flexible – the inside is also outside and the jungle is in the house. Ultra-Ruin is an architectural instrument played by nature including human nature. The main user is a private family, but occasionally the space is opened up for larger meetings.
a - lower deck, b - courtyard, c - loft, d - hall, e - kitchen, f - sauna, g - pool, h - tower

Ultra-Ruin is more of an organic accident than based on industrial control. Architectural control has been opened up in order to let nature step in and human error take place. Architecture is not an independent language and architecture is not talking alone. Architecture needs nature to become part of nature. Ultra-Ruin is a post-ruin condition, where the human has come back to the ruin-house and shares the same space with the jungle.






Ultra-Ruin has been developed since 2009 in close and still ongoing dialog with the client. The first architectural reaction was to build a table around which we could talk, then to build a shelter for this table. The rest of Ultra-Ruin has grown up around this initial impact. We still keep talking and Ultra-Ruin keeps growing as an open form. ark

asuintalo | private house
arkkitehdit | architects Marco Casagrande
osoite | address Yangming Mountain, Taipei, Taiwan
laajuus | gross area 210 m2 + 520 m2 (terassit | terraces)

valmistuminen | completion 2013




Monday, December 28, 2015

ULTRA-RUIN

ARKKITEHTI 6/2015
VALOKUVAT ADDA ZEI
TEKSTI MARCO CASAGRANDE


Arkkitehtuuri puhuu ja arkkitehdit kuuntelevat. Itse asiassa luonto puhuu, ja arkkitehtuuri hakee siitä muotonsa. Arkkitehti on suunnittelija-shamaani, välittäjä tähän todellisuuteen. Suunnittelu ei voi korvata todellisuutta, luontoa. Inhimillinen kontrolli täytyy avata, jotta luonto voi astua sisään. Arkkitehtuuri pitää raunioittaa. Raunioituminen tapahtuu, kun ihmisen luoma muuttuu osaksi luontoa.


Arkkitehtuuri on paikkaan sidottu instrumentti, jossa tilan ääni saa kaikupohjan ja jonka kautta se saa muodon. Arkkitehtuurin oma ääni on hento, ja tullakseen kuulluksi se tarvitsee vahvaa läsnäoloa, herkkyyttä ja uhrauksia. Arkkitehti on yksi niistä herkistä olennoista, jotka kuulevat tämän äänen ja osaavat vaalia sen sointia. Arkkitehtuuri joko on tai se ei ole. Sitä ei voi spekuloida. Arkkitehtuuri on todellinen todellisuus. 

”Mitä Piikkisialle oikein tapahtui?” 
”Yhtenä päivänä hän palasi vyöhykkeeltä ja tuli valtavan rikkaaksi, valtavan rikkaaksi. Seuraavalla viikolla hän hirtti itsensä.” 
Stalker, Andrei Tarkovski






Ihmiset elävät tilassa, ja tämä yhteys voi olla taidetta, jotain sellaista, mitä ei voi suunnitella. Arkkitehtuuri on sattuma, eikä se ole ihmisen hallittavissa. Ymmärtääkseen sattuman ja päästääkseen elämän virtaamaan sen läpi ihmisen täytyy olla läsnä. Läsnäolo on kaiken taiteen ydin. Tämä särö ihmisen hallinnassa on akupunktiopiste, jonka kautta arkkitehtuurin organismi voi kasvaa. Biourbanismi on säröjen kaupunki. Arkkitehtuuri on ihmisen ja luonnon välinen välittäjä, joka yhdistää ihmisluonnon muuhun luontoon, todellisuuteen. Arkkitehtuuri on todellisuuden taidetta.

Ultra-Ruin on puusta tehty arkkitehtuuriorganismi, joka kasvaa hylätyn punatiilisen maalaistalon raunioista paikassa, jossa pengerretyt viljelysmaat kohtaavat viidakon. Heiveröinen arkkitehtuuri noudattaa avoimen muodon periaatteita, ja se on improvisoitu paikan päällä, reagoimalla vaistonvaraisesti viidakkoon, raunioihin ja paikallistietoon.







Kokonaisuuteen kuuluu useita monikäyttöisiä tiloja ja tasoja, joita voidaan käyttää elämisen erilaisiin toimintoihin tai meditaatioon. Ulko- ja sisätilojen jatkumo on joustava – ulkonakin on sisätilaa ja viidakko on sisällä talossa. Ultra-Ruin on arkkitehtoninen instrumentti, jota luonto – myös ihmisluonto – soittaa. Rakennus on pääasiallisesti yhden perheen yksityiskäytössä, mutta toisinaan siellä järjestetään laajempia kokoontumisia.


a - lower deck, b - courtyard, c - loft, d - hall, e - kitchen, f - sauna, g - pool, h - tower


Ultra-Ruin perustuu pikemminkin orgaaniseen sattumaan kuin teolliseen hallintaan. Arkkitehtoninen kontrolli on avattu, jotta luonto voi astua sisään ja inhimillisiä erehdyksiä voi tapahtua. Arkkitehtuuri ei ole itsenäinen kieli, eikä se myöskään puhu yksin. Arkkitehtuuri tarvitsee luontoa tullakseen osaksi luontoa. Ultra-Ruin edustaa raunioitumisen jälkeistä tilaa, jossa ihminen on palannut rauniotaloon ja jakaa tilan viidakon kanssa. 






Ultra-Ruin on kehittynyt vuodesta 2009 alkaen arkkitehdin ja asiakkaan läheisessä yhteistyössä, ja tämä yhteistyö jatkuu edelleen. Ensimmäinen arkkitehtoninen reaktio suunnittelutyöhön oli rakentaa pöytä, jonka ympärillä voitiin keskustella. Seuraavaksi rakennettiin suoja pöydän päälle. Tämän ympärille Ultra-Ruin on kehittynyt. Keskustelut jatkuvat, ja niin jatkuu myös Ultra-Ruinin kehitys avoimena muotona. ark

asuintalo
Marco Casagrande
Yangmingshanin kansallispuisto, Taipei, Taiwan
210 m2 + 520 m2 (terassit)
2013




Sunday, September 6, 2015

Casagrande Laboratory rakentaa tulevaisuuden kaupungin Tallinnaan



Andrei Tarkovskin Stalker-elokuvan kulisseihin nousee kolmessa päivässä nelikerroksinen Paracity
 
Suomalainen arkkitehti- ja kaupunkisuunnittelutoimisto Casagrande Laboratory rakentaa 9. syyskuuta alkavaan Tallinn Architecture Biennaleen tulevaisuuden kaupungin. Kahdestatoista puumoduulista koostuva neljäkerroksinen Paracity kasataan kolmessa päivässä. Paracity rakennetaan entiseen voimalaitokseen, jossa elokuvaohjaaja Andrei Tarkovski kuvasi klassikkoelokuvaansa Stalkeria vuonna 1977. Tila on juuri kunnostettu näyttely- ja monitoimitilaksi Kultuuri Kateliksi.

"Tallinnan näyttely on siitä merkittävä, että siellä Paracity rakennetaan sillä tavalla kuin se on suunniteltu: käsityökaluilla, miestyövoimalla ja improvisoiden. Nyt ryhmä koostuu viidestätoista opiskelijasta, mutta he voisivat olla yhtä hyvin kodittomia", arkkitehti Marco Casagrande sanoo.

Kolmatta kertaa järjestettävän Tallinn Architecture Biennalin teemana on Self-Driven City. Kansainvälinen kuraattoriverkosto kutsui Casagrande Laboratoryn Paracityn mukaan arkkitehtuurin tulevaisuuteen ja urbanismiin keskittyvään TAB Labiin.

Paracity on tulva-, maanjäristys- ja katastrofialueille suunniteltu kaupunkirakennejärjestelmä, jossa asukkaat rakentavat itse kotinsa puisen rungon sisään. "Käytännössä Paracity on tilamoduuli, joka on parhaimmillaan toistuvissa tiloissa. Siitä voi tehdä asuinkerrostaloja, kouluja, päiväkoteja ja niin edelleen", Casagrande Laboratoryn tuotanto ja talousjohtaja Sauli Ylinen sanoo.

Normaalisti Paracityn kehikko on kooltaan kuusi kertaa kuusi metriä. CLT-laminoidun pilarin vahvuus on 60 senttiä. Tallinnaan nousee kehikosta pienempi versio, jonka koko on kolme kertaa kolme metriä ja pilarin paksuus 20 senttiä.

"Pienempi malli voisi olla katastrofialueen ensimmäinen pysyvä rakenne. Ensin seiniksi viritettäisiin pressut tai mitkä tahansa kankaat. Seuraavaksi seinät voisi rakentaa jätelaudasta ja kun rakennustarvikkeita alkaa taas saada niin vaikka muurata, Ylinen sanoo.

Näyttelyn jälkeen Paracityn rakenteet menevät hyötykäyttöön. "Niistä tehdään kylä Tallinnan yliopiston pihalle. Toivon, että siitä tulee avoin akateeminen runko. Paikka, jonka puitteisiin opiskelijat saavat itse tehdä tarvitsemiaan tiloja", Casagrande sanoo.

Pienemmän Paracity-kuution rakentaminen on yksinkertaista ja nopeaa. Yhdeksän neliön kehikot on suunniteltu niin, että kaksi ihmistä voi kasata ne käsityökaluilla alle tunnissa. Rakenne on kestävä, kevyt, jäykkä ja helppo kuljettaa. Yhteen merikonttiin mahtuu useita runkoja.

"Tämä on hyönteisarkkitehtuuria, jossa on kasa ukkoja ja tikkuja. Sitten se on vain toistoa. Koti nousee tunneissa, kaupunki päivässä", Casagrande sanoo.

Tallinn Architecture Biennale 9.9.-18.10.2015. 

Median on mahdollista tulla seuraamaan Paracityn rakentamista Tallinnaan 8.9.2015.  

Ilmoittautumiset, lisätiedot ja haastattelupyynnöt:
Santtu Parkkonen
Mellakka Helsinki
0400911130
santtu@mellakkahelsinki.fi

Linkit: 
TAB.ee
kultuurikatel.ee
casagrandelaboratory.com


Santtu Parkkonen
santtu@mellakkahelsinki.fi
+358 400 911130

Mellakka Helsinki
PR- & viestintätoimisto
Merimiehenkatu 29, sisäpiha
00150 Helsinki

www.mellakkahelsinki.fi

Thursday, May 29, 2014

RUINS OF THE FUTURE

An interview with Marco Casagrande on the significance of ruins by Liva Dudareva / STRELKA Institute


Stalker / Film by A.Tarkovsky

How did you become interested in ruins?
There was a time when I felt kind of sick or kind of disturbed when I was looking at old drawings of ruins, that were displayed most of the time as romantic establishments relating to the period of the Enlightenment. But then I came across the book called “Dialectics of Enlightenment” by Max Horkheimer and Teodor Adorno. They both belonged to the philosophical school called the Frankfurt School. They had to escape Germany during the Second World War, and both went to the US, where they wrote this book. In short, “Dialectics of Enlightenment” is about how industrialism betrayed the Enlightenment. I was reading it, and somehow got interested again in ruins.

What does ruin mean for the city?
IN MY POINT OF VIEW THERE IS ONLY ONE REALITY AND IT IS NATURE. THE OFFICIAL CITY IS GOING TOWARDS FICTION. ITS JUST A SOME KIND OF MAD DREAM OF CENTRAL HIERARCHIES.
I used to live in Taiwan which has lots of ruins. When the Japanese left Taiwan, they left Japanese houses which the Taiwanese didn’t maintain but neither did they destroy them. Taipei has been growing very fast, and so nature had overtaken these Japanese ruins very quickly, turning them into small ecosystems inside the city. When you have a lot of small holes in the city, which nature takes over, they become points of acupuncture. The city is so fat and lazy, and industrial, and these acupuncture points in the form of Japanese ruins are actually doing some sort of good for Taipei in general, and people feel it. People are very interested, and I got interested in the question of how it is possible that there is this official city, which is polluted and basically trying to destroy nature, while inside the city you have people that are very real. They are using the official city in a very organic way and putting some new layers on top of it. I find it very hopeful. Ruins seem to play some sort of part in it. I started to research illegal communities in Taiwan, and in all settlements the jungle was playing part of it, and urban farming was playing part of it, and also the people. I was absolutely fascinated, because in Taiwan these communities could be in very high densities, without design, official systems or central power. They were real. And that is a key word. In my point of view there is only one reality and it is nature. The official city is going towards fiction. It’s just a kind of mad dream of the central hierarchies. Because it is not real, it is against nature and the symptom of that is pollution and so forth.
I got interested in the reality to the point that I asked TamKang University, where I was architecture professor at the time, to find me a ruin, because I could no longer live in a house. I wanted to move into a ruin. My wife would move into the ruin too. I would no longer teach in the institution, and students would also come to the ruin.

Ruin Academy / Nikita Wu
Ruin Academy / Nikita Wu
What kind of knowledge from nature did you gain while living in the ruin?
When I was working in the Treasure Hill, we changed it into the Third Generation City and it was real. Same thing when we moved to the Tea Factory – to the ruin of the Tea Factory. We had to find out what you really need to survive. It is not romantic. For example we had big cobras, that can kill you. I’m living in the same ruin with A cobra, or perhaps many cobras. You don’t leave your food around, because then A mouse or rat comes, and after the rat comes a cobra. These kind of realities start to come out of observations.
For example, the ruins had quite a few bonsais. Bonsai is a tree that has found out that The human made environment is an environment where he can live. The same tree could grow 20m high just 10m away from the ruin. But when he is living in the ruin, for example in an empty windowsill that has little topsoil, he decides to stay 50cm. He knows how water is coming in and how the sun is circulated, but also how strong the structure of the bricks is. I have followed this process. He doesn’t grow, he stays there. You can scale these things up and down, but it takes a bit of time to observe them, and you need to be there, and you need to be normal, because research is not normal and design is not normal. When things become normal, then you actually start finding something real.
The only way to feel normal is with nature. The whole mindset of nature is about A constant exchange of energy, and you are part of that. If i really put my energy in nature, if i go skiing, build a fire, pick mushrooms, I feel this energy exchange and it makes me feel normal. When I am in the city I won’t do that. Maybe I can, but still I do not feel totally normal.

Do you think you can bring this feeling of normality to the cities somehow?
Not somehow but totally. The answer must be totally and that’s the Third Generation City. The city must become part of nature, and then this energy exchange and everything will be normal.

Ruin Academy / Nikita Wu
Ruin Academy / Nikita Wu
It is about finding a balance?
…some sort of total chaos.
THE THIRD GENERATION CITY IS NOT SOMETHING THAT WE DESIGN. IT IS NOT AN ECO-CITY. IT SHOULD BE MORE LIKE AN ACCIDENT, SOME KIND OF JUNGLE.
The main challenge is to start giving up. Industrialisation has become more dominant or more powerful in our minds than nature. We became a long time ago the servants of industry. Now architecture and urbanism is at this point where we must start opening up, we must start to give up in order for nature to step in. We think our mechanical reality is independent from nature, but that’s a joke.
The Third Generation City is not something that we design. It is not an eco-city. It should be more like an accident, some kind of jungle. At the same time the whole system will be dying in one corner and in some other corner it will be coming up. There will be battle. It’s not a harmonious thing, it generates energy. Treasure Hill where I was working was very close to it.

You mentioned how illegal communities are using the official city. I wonder if an illegal city can exist without a legal one? Can a bottom-up approach exist without a top-down?
I THINK WE NEED A CONSTANT REVOLUTION, ESPECIALLY IN THE CITY. IF THE CITY BECOMES TOO FIXED AND TOO OFFICIAL IT IS A POLLUTION IN ITSELF, BUT WHEN YOU HAVE THIS CONSTANT REVOLUTION IT BECOMES SOME SORT OF ORGANIC MACHINE.
I think we need a constant revolution, especially in the city. If the city becomes too fixed and too official it is a pollution itself, but when you have this constant revolution it becomes some sort of organic machine. Whether this can be achieved with illegal communities or self-organised communities, or bottom-up communities, or peer to peer solutions, or whether the official plays any part in it, I don’t have the answer. I think they are all part of it, even the official, but it won’t be a linear process, and it won’t be a circular process. It has many layers, and these layers are not layered on each other, but rather overlapping, slicing each other. The places where slicing happens are where the energy points are – the hotspots, what we are talking about in urban acupuncture. How to interpret and understand that energy exchange or even information matrix is not easy, but it is probably an architectural task.

You talk about Third Generation Cities in the context of existing cities. What about new cities built without a context? Perhaps you could refer to the Asian conditions.
It’s hard to say what the Asian phenomenon is in general. I guess it is the same talk we had in Finland in the 70s, 80s, and even 90s, where people were moving to the cities from the countryside. They were forgetting original values, forgetting how to live together with nature, and becoming a city man. Asia is doing the same thing, but on a very, very big scale. We were doing a project in Shenzhen with some migrating workers. They all came from the countryside, and they were all so clever. They knew how to build with bamboo and different kinds of materials, but those same people were building skyscrapers that all look alike. This is a moment when hundreds of millions of people are moving into the cities. They are bringing local knowledge from the countryside to the cities, originating from different parts of the country. China would be really clever now, if it could start to really appreciate this movement from city to countryside and use the local knowledge pouring into the cities. From this perspective it could become a Third Generation City.

You talk about local knowledge accumulated from previous generations. It is interesting to think what kind of local knowledge our generation is producing. What will we leave for the future?
Very good question, probably nothing so far. … Looks like zero. It looks like the city is the end.

Really?
Yes, maybe through ruins there is some possibility. The ruins in this case become like the Zone in “Stalker”, but you need the Stalkers.

But on the other hand “Stalker” also shows that you walk in the ruins in order to find the answer. But to find the answer you need to ask the right question.
The Zone is just nature. We have been in the city for so long that we don’t even know how to go to the forest. You disappear, and therefore you need just a normal guy who can set up a fire and catch a fish.
You need a guide?
Yes, yes, architects should become the Stalker.
Stalker / Film by A.Tarkovsky
Stalker / Film by A.Tarkovsky
Do you think a reversed scenario is possible: city man going back to nature?
I think that the big process is that most people will be located in the cities. They will be fed genetic food and will have such powerful information systems that you will be able to tell those people whatever you want. They will be completely dependent on social media. They will become this genetically manipulated information souls living in the city. But despite this mass of total uselessness they are still humans. They still have some basic human heart, and some strange good things will start coming out of that. Maybe that is the new local knowledge.

Thursday, April 24, 2014

ULTRA-RUIN

Alberto Mengual Muñoz @ URBIPEDIA

Ultra-Ruin, obra de Marco Casagrande terminada en 2013 en Taipei, es un organismo de arquitectura de madera que crece a partir de las ruinas de una casa de ladrillo rojo abandonada en un lugar de encuentro de granjas aterrazadas con la selva. La débil arquitectura sigue los principios de Open Form y se improvisa en el sitio en base a instintos que reaccionan en presencia de la selva, la ruina y el conocimiento local.

Ficha técnica

  • Arquitectos:Marco Casagrande
  • Project Manager: Nikita Wu
  • Equipo de Casagrande Laboratory: Frank Chen, Yu-Chen Chiu
  • Materiales: Mahogany, Zelkova, Camphor, Taiwan Cypress, bronze, steel, stone, brick
  • Localidad: Yangming Mountain, Taipei, Taiwan
  • Situación: ruin of an abandoned farm house and surrounding terraced farms
  • Espacio Interior: 210 m2
  • Área de terraza: 520 m2

Descripción

El complejo cuenta con una gran variedad de espacios multifuncionales y plataformas que pueden ser activadas para diferentes funciones de la vida y la meditación. La continuidad espacial entre los espacios interiores y exteriores es flexible, también el interior está al exterior y la selva está al interior. El Ultra-Ruin es un instrumento arquitectónico interpretado por la naturaleza, incluyendo los humanos. El usuario principal es una familia privada, pero el espacio se abre ocasionalmente para reuniones más amplias.

Ultra-Ruin es más un accidente orgánico, que un espacio basado en el control industrial. El accidente es mayor que el control arquitectónico. El control arquitectónico se ha abierto con el fin de dejar que la naturaleza intervenga y tenga lugar el error humano. Con el fin de entender la dinámica de un accidente hay que estar presente. Estar presente es la clave de todo arte.
La arquitectura no es un lenguaje independiente y la arquitectura no habla sola. La arquitectura necesita de la naturaleza para convertirse en parte de la naturaleza. Ultra-Ruin es una condición post-ruina, donde el ser humano ha vuelto a la casa/ruina y comparte el mismo espacio con la selva.
Ultra-Ruin se ha desarrollado en un diálogo cercano aún en curso con el cliente desde el año 2009. La primera reacción de arquitectura fue construir una mesa alrededor de la cual pudieramos hablar. Luego, para construir un refugio para esta mesa. El resto de Ultra-Ruina ha crecido alrededor de este impacto inicial. Todavía seguimos hablando y Ultra-Ruina sigue creciendo como una forma abierta.
La primera maqueta de Ultra-Ruin fue realizado para el Museo Victorial & Albert de Londres en 2009. La actual villa/ruina ejecutada en Taiwán ha crecido a partir de esta semilla.

COMMEDIA DELL'ARCHITETTURA

La Arquitectura da las órdenes y los arquitectos escuchan. En realidad la naturaleza da las órdenes y la arquitectura toma forma. El arquitecto es un chamán del diseño que se comunica con esta realidad. El diseño no puede sustituir a la realidad, la naturaleza. El control humano debe abrirse para permitir que la naturaleza salte al interior. La arquitectura debe ser arruinada. Ruina es cuando el hombre se ha convertido en parte de la naturaleza.
Estar presente es la clave de todo arte. El arquitecto es un instrumento específico a través del cual la gran voz de la arquitectura empieza a resonar y encontrar la forma. Esta gran voz es débil y necesita una gran presencia, sacrificio y sensibilidad para ser escuchada. El arquitecto es uno de los seres sensibles paraa escuchar esta voz y proteger el sonido. La Arquitectura es o no lo es. No se puede especular. La arquitectura es una verdadera realidad.

Que le ocurrió realmente a Porcupine?
Un día regresó de la Zona y se convirtió en increíblemente rico, increíblemente rico. A la semana siguiente se ahorcó.” – Stalker, Tarkovsky

La gente vive en el espacio y esta conexión puede ser arte, algo superior a lo que podría ser diseñado. La arquitectura es un accidente, que es algo mayor que el control humano. Con el fin de comprender el accidente y dejar que la vida corra a través de él, uno debe estar presente. Estar presente es la clave de todo arte. Esta fisura en el control humano es el punto de acupuntura por el que el organismo de la arquitectura puede crecer. Biourbanismo es la ciudad de las fisuras. La arquitectura es un mediador entre el hombre y la naturaleza, conectando la naturaleza humana con el resto de la naturaleza, la realidad. La arquitectura es el arte de la realidad.

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