(Space and Tectonics – Porosity – Practice Models)
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The existing network illustrates how technology and economics have evolved by covering space.
The construction and maintenance of these alternatives are at the heart of exploration, proposing a glimpse into the economic realities that are obscured by the agendas of architectural prosperity and recent technological development. These sections can be specific to a particular culture, civilization, and religion; human endeavor to modernize by covering and filling the space in which human beings exist; Is what makes this matter.
Each network represents the core structure of an organization or the structure of a human being that over time only has its objective appearance and is controlled by the powers available to achieve their specific goals, such as technological and economic advancement; and Man who is unconsciously a factor outside of this system and organization has always observed changes over time.
The complex social, economic, and political mechanisms that govern the expansion and constraints of the contemporary city are not unaffected by its architecture and social function. Space always represents the territory and defines the environments related to social activities. We even wish that this would happen, but our society cannot go out of its way. Although society produces space, it is always a prisoner of its space. Because space is a common platform for all activities, and often politically conceals its social contradictions in order to create cohesion.
the project is the result of the examination of the fragmentation and incompletion of the space and the disappointed hopes for permanence wholeness. These geometric forms are spread throughout the city as well to service reference points, as habitats while incorporating ecological and social programs.
In the early 1960s, Eduardo Chillida engaged in a dialog with the German philosopher Martin Heidegger. When the two men met, they discovered that from different angles, they were “working” with space in the same way. Heidegger wrote: “We would have to learn to recognize that things themselves are places and do not merely belong to a place,” and that sculpture is thereby “…the embodiment of places.” Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. The sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein.
Chillida has been quoted as saying: “My whole Work is a journey of discovery in Space. Space is the liveliest of all, the one that surrounds us. …I do not believe so much in experience. I think it is conservative. I believe in perception, which is something else. It is riskier and more progressive. There is something that still wants to progress and grow. Also, this is what I think makes you perceive, and perceiving directly acts upon the present, but with one foot firmly planted in the future. Experience, on the other hand, does the contrary: you are in the present, but with one foot in the past. In other words, I prefer the position of perception. All of my work is the progeny of the question. I am a specialist in asking questions, some without answers.”
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The movement and tension in Eduardo Chillida’s work, the empty spaces, positive and negative, how volumes communicate and attempt to articulate action between them all reflect his modern view of globalization and life between technology and its complexities next to the poverty and vacuum created by it.
The works are deeply inspired by the sketch works of Eduardo Chillida.
