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The definition of empathy is the mental and affective identification of one subject with another’s frame of mind. We learn thanks to this instinct. That desire. To be the creature, to experience its spatial condition. That curious instinct or thought is the basis of this work. Architecture has no value until it is occupied.
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Use
The definition of empathy is the mental and affective identification of one subject with another’s frame of mind. We learn thanks to this instinct. That desire. To be the creature, to experience its spatial condition. That curious instinct or thought is the basis of this work. Architecture has no value until it is occupied.
3
Â
Use
The definition of empathy is the mental and affective identification of one subject with another’s frame of mind. We learn thanks to this instinct. That desire. To be the creature, to experience its spatial condition. That curious instinct or thought is the basis of this work. Architecture has no value until it is occupied.
The setting is unique and magical. From the very beginning, it is a place—not just a space, but a place where layers of time are accumulated. The scale was crucial, the towering trees that surround it are in command. I think we got it right, though it wasn’t a question of luck; it’s because the piece’s proportions are special and copied directly from nature. Great care was taken with the siting. It had to be discovered, not taken in at first glance. An exterior of sharp contrasts from each end and a radically different interior. It had to maintain a domestic scale, closely related to the proportions of the body and its positions. There’s a latent sensation of refuge, interior, shelter, which is the primitive function of any built structure. Ergonomic forms that naturally absorb the body’s poses. Comfort. The seamless continuity of vertical and horizontal surfaces: no distinction between wall and floor, no corners or edges. It’s interesting to see how children experience that spatial ambiguity without preconceived notions, testing that limit.
The setting is unique and magical. From the very beginning, it is a place—not just a space, but a place where layers of time are accumulated. The scale was crucial, the towering trees that surround it are in command. I think we got it right, though it wasn’t a question of luck; it’s because the piece’s proportions are special and copied directly from nature. Great care was taken with the siting. It had to be discovered, not taken in at first glance. An exterior of sharp contrasts from each end and a radically different interior. It had to maintain a domestic scale, closely related to the proportions of the body and its positions. There’s a latent sensation of refuge, interior, shelter, which is the primitive function of any built structure. Ergonomic forms that naturally absorb the body’s poses. Comfort. The seamless continuity of vertical and horizontal surfaces: no distinction between wall and floor, no corners or edges. It’s interesting to see how children experience that spatial ambiguity without preconceived notions, testing that limit.
The setting is unique and magical. From the very beginning, it is a place—not just a space, but a place where layers of time are accumulated. The scale was crucial, the towering trees that surround it are in command. I think we got it right, though it wasn’t a question of luck; it’s because the piece’s proportions are special and copied directly from nature. Great care was taken with the siting. It had to be discovered, not taken in at first glance. An exterior of sharp contrasts from each end and a radically different interior. It had to maintain a domestic scale, closely related to the proportions of the body and its positions. There’s a latent sensation of refuge, interior, shelter, which is the primitive function of any built structure. Ergonomic forms that naturally absorb the body’s poses. Comfort. The seamless continuity of vertical and horizontal surfaces: no distinction between wall and floor, no corners or edges. It’s interesting to see how children experience that spatial ambiguity without preconceived notions, testing that limit.
This piece is a tribute to the curve, to the outcome achieved by a building system that uses repetition to generate double curvature. An attempt to systematise the curve by challenging our generally orthogonal everyday surroundings.
This piece is a tribute to the curve, to the outcome achieved by a building system that uses repetition to generate double curvature. An attempt to systematise the curve by challenging our generally orthogonal everyday surroundings.