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The Timekeeper
The Timekeeper
Mexico City, Mexico
Project Featured on May 15, 2015
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The Timekeeper
Mexico City, Mexico
Project Featured on May 15, 2015
As part of Design House 2014 (Mexico City), Materia was given the space of the garage within an empty house to study and provide a sensory experience to its visitor's throughout its 3 week long exhibit. As with many houses in Mexico, such space commonly includes the premises of a guardian, a gate keeper that keeps the property under surveillance. This became the programmatic departure.
The design questioned the double purpose of an architectural space. In its most pragmatic sense it limits and allows the placing for the objects intended for its operational use: the function of eating, sleeping, reading, cleaning, showering, guarding. In a broader sense, the space embodies and abstracts time arousing a sensory experience: the desire of nourishing, dreaming, learning, purifying, and contemplating.
In this sense the space for the guard, the time keeper, is two-fold. A 'room' holds all of his biological needs and belongings. No 'finishes' are obvious to differentiate floor versus walls or ceiling, nor do any colors or textures denote the objects as the function without desire becomes sterile and futile. A second adjacent chamber is devoid of objects and delimited by bare materials and textures: wood, stone, concrete, black clay, light and shadow.
The pragmatic room is occupied with sight, while the chamber is felt with smell, texture, temperature, anticipation and sound. Through the experience of this separation, the visitor was enabled to feel and recognize an experience and gain the understanding of time between the one that is measured and the one that is spent. The guard is the one that looks over time; the time keeper the one that becomes in it.
The project was also marked with a close collaboration with artist Adrián Guerrero, industrial designer David Pompa and sound curator Jose Hita.
The design questioned the double purpose of an architectural space. In its most pragmatic sense it limits and allows the placing for the objects intended for its operational use: the function of eating, sleeping, reading, cleaning, showering, guarding. In a broader sense, the space embodies and abstracts time arousing a sensory experience: the desire of nourishing, dreaming, learning, purifying, and contemplating.
In this sense the space for the guard, the time keeper, is two-fold. A 'room' holds all of his biological needs and belongings. No 'finishes' are obvious to differentiate floor versus walls or ceiling, nor do any colors or textures denote the objects as the function without desire becomes sterile and futile. A second adjacent chamber is devoid of objects and delimited by bare materials and textures: wood, stone, concrete, black clay, light and shadow.
The pragmatic room is occupied with sight, while the chamber is felt with smell, texture, temperature, anticipation and sound. Through the experience of this separation, the visitor was enabled to feel and recognize an experience and gain the understanding of time between the one that is measured and the one that is spent. The guard is the one that looks over time; the time keeper the one that becomes in it.
The project was also marked with a close collaboration with artist Adrián Guerrero, industrial designer David Pompa and sound curator Jose Hita.
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