RECONSTRUCTED ROOM
Re-constructed Room seeks to speculate on the role of agency within architectural design by exploring multiple translations of the archetype of ‘the room.’
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As a catalyst the project indexes the characteristics of ‘the room,’ a typical domestic space. The components of the walls, floor, door, window, fireplace and chair, provide a clear architectural tectonic alongside the granularity of cornicing, skirting boards, architraves, windowsill and mantelpiece. While it acts as the seed, ‘the room’ is less object and more archetype. It seeks to bare familiar hallmarks of habitation and scale that can be observed through distortion.
This archetype is then modulated, like a signal, from ‘analogue’ to “digital’ and back to ‘analogue’ leaving the resultant output garbled and unharmonious.
As George Legendre asserts on the design process, there is not a call for a pure ‘deductive reasoning’ as ultimately “we are not trying to solve a problem, but to create one.”‘ In this vein, Re-constructed Room proposes a methodology to approach design, bypassing ‘intuition’ it enables us to explore not “what things look like; or what they are supposed to look like…. [but] ….what they actually do.” How do we understand the function and scale of the ‘fireplace’, ‘door’ or ‘wall’ in its new composition?
RECONSTRUCTED ROOM
Re-constructed Room seeks to speculate on the role of agency within architectural design by exploring multiple translations of the archetype of ‘the room.’
As a catalyst the project indexes the characteristics of ‘the room,’ a typical domestic space. The components of the walls, floor, door, window, fireplace and chair, provide a clear architectural tectonic alongside the granularity of cornicing, skirting boards, architraves, windowsill and mantelpiece. While it acts as the seed, ‘the room’ is less object and more archetype. It seeks to bare familiar hallmarks of habitation and scale that can be observed through distortion.
This archetype is then modulated, like a signal, from ‘analogue’ to “digital’ and back to ‘analogue’ leaving the resultant output garbled and unharmonious.
As George Legendre asserts on the design process, there is not a call for a pure ‘deductive reasoning’ as ultimately “we are not trying to solve a problem, but to create one.”‘ In this vein, Re-constructed Room proposes a methodology to approach design, bypassing ‘intuition’ it enables us to explore not “what things look like; or what they are supposed to look like…. [but] ….what they actually do.” How do we understand the function and scale of the ‘fireplace’, ‘door’ or ‘wall’ in its new composition?
