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IVY-TEX
IVY-TEX
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IVY-TEX
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Type
Architecture is a
temporal art. Every architectural piece is in concrete to be seen for ages to
come, but how contemporary generation accommodates it is an altogether
different aspect. Every once in a while the architecture happens to have a
“face-lift”, something to make it ‘current’ and ‘chic’ for that period. What I am
attempting is to reduce the contradiction aroused by the two entities- time and mental acceptance of the physical form. My attempt here is a
symbiosis between architecture (of past and present) and a race with time, of which the outcome is architecture
of temporality encrypted by an interpenetrating transparent layer. The dynamics
played by these two forces have churned out a reason to make the form
integrative and as a conglomerative presence in the contemporary.
Instead of ripping-off the face, what I am
attempting is to formulate a layer which shall penetrate through time which
holds the integrity of the past (Pushkinsky now),
and weave into it a new fragrance of present. This layer which I intend to
call as a texture is a transparent
presence over Pushkinsky endowing the design with sensuality. This texture has climbed and spread across
Pushkinsky like an ivy. An ivy with
its epiphytical character of not being a parasite to its host but simply
leaning onto it for support is what the design
intends for the building. Pushkinsky cinema has a penetration which must not be
altered altogether, since it is very accommodative and casts a feeling of
belonging, a sensation which every old building spreads through its age and wisdom.
The dynamics here generating between both the host and the texture are meant to
integrate into a single entity and eventually be Ivy-Tex. Hence, Ivy-Tex is
the texture as an ivy embraces Pushkinsky for what it is and what it can be.
temporal art. Every architectural piece is in concrete to be seen for ages to
come, but how contemporary generation accommodates it is an altogether
different aspect. Every once in a while the architecture happens to have a
“face-lift”, something to make it ‘current’ and ‘chic’ for that period. What I am
attempting is to reduce the contradiction aroused by the two entities- time and mental acceptance of the physical form. My attempt here is a
symbiosis between architecture (of past and present) and a race with time, of which the outcome is architecture
of temporality encrypted by an interpenetrating transparent layer. The dynamics
played by these two forces have churned out a reason to make the form
integrative and as a conglomerative presence in the contemporary.
Instead of ripping-off the face, what I am
attempting is to formulate a layer which shall penetrate through time which
holds the integrity of the past (Pushkinsky now),
and weave into it a new fragrance of present. This layer which I intend to
call as a texture is a transparent
presence over Pushkinsky endowing the design with sensuality. This texture has climbed and spread across
Pushkinsky like an ivy. An ivy with
its epiphytical character of not being a parasite to its host but simply
leaning onto it for support is what the design
intends for the building. Pushkinsky cinema has a penetration which must not be
altered altogether, since it is very accommodative and casts a feeling of
belonging, a sensation which every old building spreads through its age and wisdom.
The dynamics here generating between both the host and the texture are meant to
integrate into a single entity and eventually be Ivy-Tex. Hence, Ivy-Tex is
the texture as an ivy embraces Pushkinsky for what it is and what it can be.
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