Add To Collection
Add to Collection
pierced architecture
pierced architecture
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
pierced architecture
Firm
Type
SIZE
10,000 sqft - 25,000 sqft
BUDGET
$100K - 500K
The
combination
of reciprocal sensory interferences becomes a compositional tool:
sight, hearing and touch take turns in a succession of indefinite and
simultaneous spatial perceptions. Surface, sound and body are
represented – like space, time and force – by a geometrical shape
that, while strict, logical and coherent, is contaminated by raw
material
seen as the only element reconnecting to the existential space.
Our
senses are induced to perceive the body-architecture in an analytical
way – with the viewer having, instead of the precise (removed)
sight imposed by an obliged vision, an experience
of total perception.
Time
becomes the primordial medium
in the reading of the body as fragmentation
dismantles
the unity of the object and reveals its objective reality, constantly
changing with the movements of the different architectural parts.
The
tear in the body’s skin becomes the pierced
place enabling the communication between inside and outside. The “raw
material” is an alien, contaminating element, a penetrating force
that moves; by moving it evokes the sense of touch as a real reminder
of its presence and emanates the sounds expressed by its material
being: the sounds produced by a concrete panel are different from
those produced by a wood panel, just like a steel panel is different
from a plastic panel.
The
house has
no traditional openings but slits, the only elements allowing light
into the interior, although an adequate natural lighting is ensured
by a large central patio over which a staircase unfolds and that,
like a promenade
architecturale,
leads to the different levels, inducing ever changing feelings.
The
rest of the house is based on the principle of void: floors and
partitions, except for the technical volumes, are transparent so that
the space and the parts’ different movements, as well as the
sounds, can be totally perceived.
Inside
the building, just like outside, the
material element becomes an
exceptional event,
the variation of a generally abstract scene. This means that the only
elements appearing on every level are the panels forming a flat or
inclined floor, a wall, etc. As it becomes perceptible from the
outside, the material element turns into something else: the
horizontal floor becomes a canopy sheltering the entry; the inner
wall acts as an outer panel enclosing part of the open space,so that
it becomes intimate and sheltered; the inner ceiling becomes a
balcony, etc. … The entry and balcony doors are conceived as
elements designed and carved into the wall so that they can be
extended when necessary and then folded back into the enclosure.
combination
of reciprocal sensory interferences becomes a compositional tool:
sight, hearing and touch take turns in a succession of indefinite and
simultaneous spatial perceptions. Surface, sound and body are
represented – like space, time and force – by a geometrical shape
that, while strict, logical and coherent, is contaminated by raw
material
seen as the only element reconnecting to the existential space.
Our
senses are induced to perceive the body-architecture in an analytical
way – with the viewer having, instead of the precise (removed)
sight imposed by an obliged vision, an experience
of total perception.
Time
becomes the primordial medium
in the reading of the body as fragmentation
dismantles
the unity of the object and reveals its objective reality, constantly
changing with the movements of the different architectural parts.
The
tear in the body’s skin becomes the pierced
place enabling the communication between inside and outside. The “raw
material” is an alien, contaminating element, a penetrating force
that moves; by moving it evokes the sense of touch as a real reminder
of its presence and emanates the sounds expressed by its material
being: the sounds produced by a concrete panel are different from
those produced by a wood panel, just like a steel panel is different
from a plastic panel.
The
house has
no traditional openings but slits, the only elements allowing light
into the interior, although an adequate natural lighting is ensured
by a large central patio over which a staircase unfolds and that,
like a promenade
architecturale,
leads to the different levels, inducing ever changing feelings.
The
rest of the house is based on the principle of void: floors and
partitions, except for the technical volumes, are transparent so that
the space and the parts’ different movements, as well as the
sounds, can be totally perceived.
Inside
the building, just like outside, the
material element becomes an
exceptional event,
the variation of a generally abstract scene. This means that the only
elements appearing on every level are the panels forming a flat or
inclined floor, a wall, etc. As it becomes perceptible from the
outside, the material element turns into something else: the
horizontal floor becomes a canopy sheltering the entry; the inner
wall acts as an outer panel enclosing part of the open space,so that
it becomes intimate and sheltered; the inner ceiling becomes a
balcony, etc. … The entry and balcony doors are conceived as
elements designed and carved into the wall so that they can be
extended when necessary and then folded back into the enclosure.
Product Spec Sheet
Were your products used?
Join as a manufacturer to add your products.