inspiration

01 designers

My design[s]_ the elements should always be in harmonie with each other. The main goal of a design is to create this harmonie. A design is able to correct certain problems in a certain situation but of course has its limits. When a design succeeds it generates a good social environment which is spatially engaging and built with the proper technologies according to its situation and time. One could say that it is a good design. Designs in which one aspect [e.g. form] get all
the attention are not good in my opinion. Parametric designing makes my opinion even more visual; some designs got their main form due to the speed of the passing cars. To me this is totally absurd; the people living or working inside the building, the spatial experience inside the building, the distribution of forces through the building, the acoustics, the rain, wind, pedestrian routing, etc. Are all subjected to this one parameter: the speed of the passing cars. A building should be an expression of what is already present
only not visible. Like Kwinter describes it:

[...] The "possible" had no reality [before emerging], here the virtual though it may yet have no actuality, is nonetheless already fully real. It exists as a free difference or singularity, not jet combined with other differences into a complex ensemble or salient form. What this means is that the virtual does not have to be realized, but only actualized [activated and integrated].

Img11.13 - 11.15 show a design made by ir. Zane Karpova. She herself describes the project as:

A poetic space is a moment created by a ray of light, line of words, sound or movement. It does not have any material form. It can be experienced only by feeling it. It can be anywhere and it can happen anytime. I believe it can be arranged...

[...]

Japanese traditions have a special character. These are traditions that are invisible - religion, philosophy, aesthetics, lifestyles, psychological environment and conditioning, and sense of order - all that clearly creates the character of a people and their culture. Intimately linked to the invisible are phenomenological traditions such as architecture, works of art and traditional symbols that give physical expression to the cultural heritage of the country.

[...]

Materials and organization of building volumes are chosen in response to SHI-GA, the nature, the landscape and the presence of context of Japanese culture - they are simple but designed in a contemporary way to express the presence of age. Heavy volumes composed of steel rings & wood infill walls /services and circulation/anchor to the ground delicate light steel & technogel structures /exhibition galleries/ that 'fly' above the hillside like spring flowers.

To me this design is in harmonie, the emphasis on certain parameters is good and therefore I consider this as good architecture.