COMPETITION POLLING
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(21/50)
910703370
NEO-JUKEBOX
This project was designed to play upon the idea of memory, enabling memorable experiences while transforming our understanding of how memories are made. The structure is a multipurpose space frame that allows for many different configurations and will be reprogrammed regularly, performing a new task each time an individual encounters it. Sometimes the installation will be relatively static, showing clips of video and multimedia material or simply glowing a color. However, this project is designed to be primarily interactive, a changing canvas.
Though structurally it is a rigid orthogonal grid, the installation will become a universe in itself, a site of social interaction that eludes memory while creating personal
experiences. The structure will be capable of connecting with nearby cell phones or laptops and projecting content played on these devices. Therefore, those that are
closest to the installation determine its behavior and can choose to share videos or photos, play interactive games, build playlists and more. Just as the people surrounding the installation change, so will the videos and images it projects, creating a channel of individually tailored content that is always in flux.
Intended to be extremely versatile, the installation will tailor itself to the individual preferences of many people, but these changes will not be permanent. In this way, the structure will represent the short-term memory: while performing a single function, it will recognize all devices it has previously encountered, returning to an individual’s last desired settings or playlists upon reconnection. Once the function changes, however, all memories will be removed and the installation will begin creating entirely new content. Several different modes will be available, including a joint setting that will allow groups of individuals to connect to the installation simultaneously.
The notion of community greatly informs this project, and the structure will bring people together through polls, group activities, and games. Wherever placed, it will
become a center for social interaction and relaxation with an atmosphere conducive to art, reflection, music, celebration, meeting, drinking, movies, and more. Memories will be made with and around this installation, and though the digital evidence of past encounters will fade, individuals will be constantly drawn back again for a new and unique experience.
This project was designed to play upon the idea of memory, enabling memorable experiences while transforming our understanding of how memories are made. The structure is a multipurpose space frame that allows for many different configurations and will be reprogrammed regularly, performing a new task each time an individual encounters it. Sometimes the installation will be relatively static, showing clips of video and multimedia material or simply glowing a color. However, this project is designed to be primarily interactive, a changing canvas.
Though structurally it is a rigid orthogonal grid, the installation will become a universe in itself, a site of social interaction that eludes memory while creating personal
experiences. The structure will be capable of connecting with nearby cell phones or laptops and projecting content played on these devices. Therefore, those that are
closest to the installation determine its behavior and can choose to share videos or photos, play interactive games, build playlists and more. Just as the people surrounding the installation change, so will the videos and images it projects, creating a channel of individually tailored content that is always in flux.
Intended to be extremely versatile, the installation will tailor itself to the individual preferences of many people, but these changes will not be permanent. In this way, the structure will represent the short-term memory: while performing a single function, it will recognize all devices it has previously encountered, returning to an individual’s last desired settings or playlists upon reconnection. Once the function changes, however, all memories will be removed and the installation will begin creating entirely new content. Several different modes will be available, including a joint setting that will allow groups of individuals to connect to the installation simultaneously.
The notion of community greatly informs this project, and the structure will bring people together through polls, group activities, and games. Wherever placed, it will
become a center for social interaction and relaxation with an atmosphere conducive to art, reflection, music, celebration, meeting, drinking, movies, and more. Memories will be made with and around this installation, and though the digital evidence of past encounters will fade, individuals will be constantly drawn back again for a new and unique experience.
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(22/50)
921622296
The Membrane Of Apperception
This design is a manifesto that challenge the linkage between technology and memory in nowadays world. Many believe that technology has exceeded humanity and threatened our vulnerable existence. Technological advance such as search engines, Google maps, online translators, and data cloud storage has undoubtedly making people live easier, as the technology helps one memorizes and records every single detail of happenings. Yet, the inner emotion and sentiment of oneself can never be record in any digital device. We may not need to respond to the influence of this technological change as presumed. The way technology conveys knowledge still does not and may never transcend how the human mind processes information.
We tend to overlook the influence of sentiment has on our experience and in turn, our understanding. Experience is an indispensable element of knowledge and our knowledge begins with experience. John Locke discussed that “consciousness always accompanies thinking”. Consciousness, referring to memory, is essential to one’s rationality and personal identity. To learn without any emotion or experience is merely a mass replication of information; not a unique understanding to your personal identity.
One can define memory as the faculty by which the mind stores and recalls information. However, we see memory as a multifaceted sphere containing sense, sentiments, experience, and contributing to one’s self. We cannot see the depth of the world nor construct new memories from a screen. The human mind upon receiving an experience, acts as a membrane filtering the substance from the noumenon world to become understanding in our phenomenal world.
Our design is the outreach of these ideas by using the most simple architectural element to create a modern but nostalgic prototype to adapt in different places. A “membrane” that can filter out technology and allows human to regain, refresh and remind them the function of memory. The form is a simple square which is rise with three slits; facing the city and the countryside. Three slits that complete the outline of the city, three slits that allow people to observe the city in a different perspective. The walls are folded to enclose a cozy and pure self reflection space in contrast to the busy streets from the city. It is a piece of the sky, a city and a postcard. Yet ,it can also be an intimate area for greetings and farewell, a markets on weekend or a theatre stage during tropical nights. A membrane full of uncertainties until one gets to physically explore it. A membrane that not only multifunctional but also soaked with memories which includes one’s sentiment and emotion.
This design is a manifesto that challenge the linkage between technology and memory in nowadays world. Many believe that technology has exceeded humanity and threatened our vulnerable existence. Technological advance such as search engines, Google maps, online translators, and data cloud storage has undoubtedly making people live easier, as the technology helps one memorizes and records every single detail of happenings. Yet, the inner emotion and sentiment of oneself can never be record in any digital device. We may not need to respond to the influence of this technological change as presumed. The way technology conveys knowledge still does not and may never transcend how the human mind processes information.
We tend to overlook the influence of sentiment has on our experience and in turn, our understanding. Experience is an indispensable element of knowledge and our knowledge begins with experience. John Locke discussed that “consciousness always accompanies thinking”. Consciousness, referring to memory, is essential to one’s rationality and personal identity. To learn without any emotion or experience is merely a mass replication of information; not a unique understanding to your personal identity.
One can define memory as the faculty by which the mind stores and recalls information. However, we see memory as a multifaceted sphere containing sense, sentiments, experience, and contributing to one’s self. We cannot see the depth of the world nor construct new memories from a screen. The human mind upon receiving an experience, acts as a membrane filtering the substance from the noumenon world to become understanding in our phenomenal world.
Our design is the outreach of these ideas by using the most simple architectural element to create a modern but nostalgic prototype to adapt in different places. A “membrane” that can filter out technology and allows human to regain, refresh and remind them the function of memory. The form is a simple square which is rise with three slits; facing the city and the countryside. Three slits that complete the outline of the city, three slits that allow people to observe the city in a different perspective. The walls are folded to enclose a cozy and pure self reflection space in contrast to the busy streets from the city. It is a piece of the sky, a city and a postcard. Yet ,it can also be an intimate area for greetings and farewell, a markets on weekend or a theatre stage during tropical nights. A membrane full of uncertainties until one gets to physically explore it. A membrane that not only multifunctional but also soaked with memories which includes one’s sentiment and emotion.
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(23/50)
980069053
Architecture is a scaffold for memory.
Even prior to the introduction of digital technologies to our lives, the extents of the relationship of architecture and memory have been difficult to pin down. Memories are deeply subjective personal narratives constructed through our daily experiences. Just as the creation of memories are unique, so too are the lives and deaths of those memories. We speak of memories ‘fading’ as the years pass but often fail to note one memory can merge with another, can become distorted and unrecognizable, may arise spontaneously from no single source, and has the power to jump from person to person.
Architecture and memory have a relationship in which the reality of a building provides a scaffold for the concretization of memories. Architecture provides an environment to locate memories and indoing so, makes them physical. It is through this act of the ‘making physical’, that we see architecture as the tool with which one forms and holds onto memories.
Digital technologies interrupt the function of architecture as a tool of memory ‘fixing’.
With the advent of photography and recording, metadata has replaced the personal construction of memory through human senses. The human instinct of gazing has been replaced by the recording, as we now reach for a smart phone to ‘capture’ the event/space/building. The digital age of architecture is the age in which a screen is always between us and the observed, flattening the events in front of us. This sterilized experience of a space causes a dis-integration of our cities and a remaking of our buildings through the lens of the lens. What was once a personal landscape of memories is now a series of disjoint images related only through their metadata.
The remapping of Architecture.
These two drawings show architecture before and after the digital split, when a connected path—constructed through many experiences over time—is replaced by digital urbanism. We have lost the notion of a fabric of a place and instead value our architecture as an image to be shared. In the wake of this digital divide, memory is seldom seen as a way to communicate with architecture but rather as an outmoded fiction. On the other hand, this architecture without memory has become a naked scaffold, useful but never put to use.
Even prior to the introduction of digital technologies to our lives, the extents of the relationship of architecture and memory have been difficult to pin down. Memories are deeply subjective personal narratives constructed through our daily experiences. Just as the creation of memories are unique, so too are the lives and deaths of those memories. We speak of memories ‘fading’ as the years pass but often fail to note one memory can merge with another, can become distorted and unrecognizable, may arise spontaneously from no single source, and has the power to jump from person to person.
Architecture and memory have a relationship in which the reality of a building provides a scaffold for the concretization of memories. Architecture provides an environment to locate memories and indoing so, makes them physical. It is through this act of the ‘making physical’, that we see architecture as the tool with which one forms and holds onto memories.
Digital technologies interrupt the function of architecture as a tool of memory ‘fixing’.
With the advent of photography and recording, metadata has replaced the personal construction of memory through human senses. The human instinct of gazing has been replaced by the recording, as we now reach for a smart phone to ‘capture’ the event/space/building. The digital age of architecture is the age in which a screen is always between us and the observed, flattening the events in front of us. This sterilized experience of a space causes a dis-integration of our cities and a remaking of our buildings through the lens of the lens. What was once a personal landscape of memories is now a series of disjoint images related only through their metadata.
The remapping of Architecture.
These two drawings show architecture before and after the digital split, when a connected path—constructed through many experiences over time—is replaced by digital urbanism. We have lost the notion of a fabric of a place and instead value our architecture as an image to be shared. In the wake of this digital divide, memory is seldom seen as a way to communicate with architecture but rather as an outmoded fiction. On the other hand, this architecture without memory has become a naked scaffold, useful but never put to use.
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(24/50)
1001480360
Beacon of Memories
I have lost the address books.
I have lost the photos on the wall.
I have lost the smell of freshly printed morning paper.
I am now lost in an abyss of binary numbers.
That is where things belong.
My memories are now retained as perpetual series of zeros and ones. My mind, the spirit, or the brain no longer memorises memories. It remains as a beacon of memories. It has become a signal, an indicator, or a directory to where the memory is memorised. Upon the point of reminder, the beacon alerts the location of the memories. Whether to a physical presence, or to a series of matching flashing pictures of resonating inside one’s head, the beacon is the light that leads to the memory.
Memories are neither physical, nor they are intellectual. Portrayals of memories have taken different forms in the existence of memory as ephemerality. The ephemeral nature of memories have made the mind to delegate its capability to memory to alternate physical sources. With the language of binaries, the digital world – or the abyss of binaries – has claimed its position in the physical world. Its physicality of metallic circuits has transformed the shelves of a library into a fingernail-sized micro-chip.
Landscape of Memories
How is architecture memorised?
Architecture is archived, revised and communicated in the forms of drawings, photographs, and soon [if not already] in virtual reality. The potential of virtual reality is heading towards to the state in which one cannot distinguish the reality and the artificial. Architecture of the past, or architecture of non-presence – delineating architectures that are distant or inaccessible, may well be shared and experience to all. As published intelligence of foreign languages are translated, the virtual landscape of memories may also take a physical presence. It may project the pre-9.11 New York on the mountain tops of Himalayas, at the same time regenerating Acropolis at the base of the Grand Canyon. Emulating the nature of distortion in the regurgitation of memories, landscape of memories extrapolate architecture into a realm of limitless distortion.
I have lost the address books.
I have lost the photos on the wall.
I have lost the smell of freshly printed morning paper.
I am now lost in an abyss of binary numbers.
That is where things belong.
My memories are now retained as perpetual series of zeros and ones. My mind, the spirit, or the brain no longer memorises memories. It remains as a beacon of memories. It has become a signal, an indicator, or a directory to where the memory is memorised. Upon the point of reminder, the beacon alerts the location of the memories. Whether to a physical presence, or to a series of matching flashing pictures of resonating inside one’s head, the beacon is the light that leads to the memory.
Memories are neither physical, nor they are intellectual. Portrayals of memories have taken different forms in the existence of memory as ephemerality. The ephemeral nature of memories have made the mind to delegate its capability to memory to alternate physical sources. With the language of binaries, the digital world – or the abyss of binaries – has claimed its position in the physical world. Its physicality of metallic circuits has transformed the shelves of a library into a fingernail-sized micro-chip.
Landscape of Memories
How is architecture memorised?
Architecture is archived, revised and communicated in the forms of drawings, photographs, and soon [if not already] in virtual reality. The potential of virtual reality is heading towards to the state in which one cannot distinguish the reality and the artificial. Architecture of the past, or architecture of non-presence – delineating architectures that are distant or inaccessible, may well be shared and experience to all. As published intelligence of foreign languages are translated, the virtual landscape of memories may also take a physical presence. It may project the pre-9.11 New York on the mountain tops of Himalayas, at the same time regenerating Acropolis at the base of the Grand Canyon. Emulating the nature of distortion in the regurgitation of memories, landscape of memories extrapolate architecture into a realm of limitless distortion.
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(25/50)
1034545951
SCION
Memory is a sum of information, details, emotions, images which appear and disappear from the first layer as does each ring of a tree. For a year each of them is the
exterior ring, the bark. According to the above definition, memories are an unseen part of the body in which they live.
The floating in the sap of present is one of the most important aspects, in fact, it connects us to origin. Why does this happen? Because memories are the nutrients of
the sap and because our roots are linked to the early stage of existence.
The multitude of memories shape every human being and greatly influence all future actions. As we grow older, there are moments of solitude that bring back these
memories in the form of flashbacks and that allow us to gain a new perspective on the past and to act differently in the future. This examination of conscience allows us to rethink our past and to pass on to younger people an authentic way of being. Thus, memories are passed on from one generation to another and this cycle leads back to the very origin of existence.
In our proposal, we approach the architectural aspect of memory which can be found in the theme of verticality, particularly illustrated by the column as an object of
transformation/process of changing. The column is a metaphor of memory and a ladder towards infinity. The stages in the evolution of columns are symbolically represented. In general, both form and material define columns. Both of them are specific for certain periods in time and certain places and this is why they are carriers of memory. All columns have the same origin and become mature under the same roof. In fact, the tree is the scion and it is also the superior part of tree. We think that material has a memory and form has a memory, but the source is the same.
Memory is a sum of information, details, emotions, images which appear and disappear from the first layer as does each ring of a tree. For a year each of them is the
exterior ring, the bark. According to the above definition, memories are an unseen part of the body in which they live.
The floating in the sap of present is one of the most important aspects, in fact, it connects us to origin. Why does this happen? Because memories are the nutrients of
the sap and because our roots are linked to the early stage of existence.
The multitude of memories shape every human being and greatly influence all future actions. As we grow older, there are moments of solitude that bring back these
memories in the form of flashbacks and that allow us to gain a new perspective on the past and to act differently in the future. This examination of conscience allows us to rethink our past and to pass on to younger people an authentic way of being. Thus, memories are passed on from one generation to another and this cycle leads back to the very origin of existence.
In our proposal, we approach the architectural aspect of memory which can be found in the theme of verticality, particularly illustrated by the column as an object of
transformation/process of changing. The column is a metaphor of memory and a ladder towards infinity. The stages in the evolution of columns are symbolically represented. In general, both form and material define columns. Both of them are specific for certain periods in time and certain places and this is why they are carriers of memory. All columns have the same origin and become mature under the same roof. In fact, the tree is the scion and it is also the superior part of tree. We think that material has a memory and form has a memory, but the source is the same.
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(26/50)
1046965453
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(27/50)
1135100021
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(28/50)
1228866271
Rewritten Memory
Memory is shifting, in terms of form, function and meaning. Memory is personal, not record of history but reconfiguration of the past by an individual’s present thoughts. Memory is discontinuous, a mixture with reality and void. The void is often refilled with imagination; however, limited by the recording methods, reality is also interwoven with imagination since one can hardly perceive all. Because of the individuality of memory, the presence of an object shifts in different scenarios. In a painting, an object is flattened to 2D, while the back side of this object persists unknown as a memory void to be filled. The scene in a painting is curated intentionally by a painter who creates a collection of objects which might not exist in the same time or space. The individualized memory, a combination of reality and imagination through time and space, lead to dissimilar typology of design of diverse scales. From an object to a built environment, the shifting typologies mutually influence each other and alter the functionality, aesthetics and meanings of the memory itself.
A kitchen strainer on a 17th century still life painting of Clara Peeters is redesigned threedimensionally in this proposal. The front of the strainer is refined within the same typology but its functionality and aesthetics have been changed, the hidden back being revealed as a heterogeneous structure. The holes on the strainer remain, while the solid part is subdivided, depressed, extruded, remerged… converted to a new form built on the context of the oval arrangement of openings. It’s no longer a flat strainer with evenly distributed holes, but a field that inhabits various species of objects and space. An object scaled multiple times brings about transformation of function, meaning and visual impact. A strainer can be hold without effort by a housewife, but when it is transformed to a fishing tool, a man has to carry it with strength to pull out the fish. Or it could be so big that it is fastened on the deck and integrated into part of a fishing ship. When it scales up, it transforms to a landscape island that needs ferries or a bridge to reach, an island about the object and its memory of human waterfront activities. The island is the articulation of subdivided solid and void, which becomes inhabitable that people can explore and reflect on the memory of this typology. Oppositely, the strainer could turn small, to be a bubble blower, creating complicated bubbles by its dense texture and multiple openings. When the densification of texture becomes decorative, it draws more attention on ornamentation than its original function, it probably becomes an accessory on human outfit, or an art craft to collect.
Memory is shifting, in terms of form, function and meaning. Memory is personal, not record of history but reconfiguration of the past by an individual’s present thoughts. Memory is discontinuous, a mixture with reality and void. The void is often refilled with imagination; however, limited by the recording methods, reality is also interwoven with imagination since one can hardly perceive all. Because of the individuality of memory, the presence of an object shifts in different scenarios. In a painting, an object is flattened to 2D, while the back side of this object persists unknown as a memory void to be filled. The scene in a painting is curated intentionally by a painter who creates a collection of objects which might not exist in the same time or space. The individualized memory, a combination of reality and imagination through time and space, lead to dissimilar typology of design of diverse scales. From an object to a built environment, the shifting typologies mutually influence each other and alter the functionality, aesthetics and meanings of the memory itself.
A kitchen strainer on a 17th century still life painting of Clara Peeters is redesigned threedimensionally in this proposal. The front of the strainer is refined within the same typology but its functionality and aesthetics have been changed, the hidden back being revealed as a heterogeneous structure. The holes on the strainer remain, while the solid part is subdivided, depressed, extruded, remerged… converted to a new form built on the context of the oval arrangement of openings. It’s no longer a flat strainer with evenly distributed holes, but a field that inhabits various species of objects and space. An object scaled multiple times brings about transformation of function, meaning and visual impact. A strainer can be hold without effort by a housewife, but when it is transformed to a fishing tool, a man has to carry it with strength to pull out the fish. Or it could be so big that it is fastened on the deck and integrated into part of a fishing ship. When it scales up, it transforms to a landscape island that needs ferries or a bridge to reach, an island about the object and its memory of human waterfront activities. The island is the articulation of subdivided solid and void, which becomes inhabitable that people can explore and reflect on the memory of this typology. Oppositely, the strainer could turn small, to be a bubble blower, creating complicated bubbles by its dense texture and multiple openings. When the densification of texture becomes decorative, it draws more attention on ornamentation than its original function, it probably becomes an accessory on human outfit, or an art craft to collect.
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(29/50)
1235363739
“We are living in an incredibly exciting and slightly absurd moment, namely that preservation is overtaking us.”
Rem Koolhaas, 2004
The gap between the present and what is left to be preserved of the past is diminishing rapidly. Global technological advances and the ubiquity of digital data have intensified demands to recall the cultural edifice that has come before. With the proliferation of the digital comes an opportunity to reimagine preservation as an immaterial practice; an ephemeral preservation.
The cracked ankles of Michelangelo’s David could fail in an earthquake at any moment. Periods of consequential ancient architecture are being eradicated at the hands of militarized civilians and foreign bombs. The longevity of timeless cultural artifacts is increasingly at question - the rate at which architecture of significance is being
recognized as such has been overtaken by the rate at which such architecture falls out of repair. With contemporary methods of documentation (e.g. three-dimensional
scanning), artifacts are now able to take on a new life in the abstract realm of computation and code.
Seemingly permanent, this mode of preservation feigns the flaws of human memory, which change with time and trauma. Physical environments which cease to exist
physically (ie, those destroyed by man or nature) are otherwise manifest in language that is intangible and inexact. The computational construct can be sourced, transferred and manipulated with little effort, ensuring that this ephemeral preservation is the furthest from resisting change; it embraces change.
Rem Koolhaas, 2004
The gap between the present and what is left to be preserved of the past is diminishing rapidly. Global technological advances and the ubiquity of digital data have intensified demands to recall the cultural edifice that has come before. With the proliferation of the digital comes an opportunity to reimagine preservation as an immaterial practice; an ephemeral preservation.
The cracked ankles of Michelangelo’s David could fail in an earthquake at any moment. Periods of consequential ancient architecture are being eradicated at the hands of militarized civilians and foreign bombs. The longevity of timeless cultural artifacts is increasingly at question - the rate at which architecture of significance is being
recognized as such has been overtaken by the rate at which such architecture falls out of repair. With contemporary methods of documentation (e.g. three-dimensional
scanning), artifacts are now able to take on a new life in the abstract realm of computation and code.
Seemingly permanent, this mode of preservation feigns the flaws of human memory, which change with time and trauma. Physical environments which cease to exist
physically (ie, those destroyed by man or nature) are otherwise manifest in language that is intangible and inexact. The computational construct can be sourced, transferred and manipulated with little effort, ensuring that this ephemeral preservation is the furthest from resisting change; it embraces change.
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(30/50)
1264603877
THE JOURNEY IS, THE DESTINATION
Your reality is shaped by your memories, you live in pattern world which later translated by your minds, your senses are merely a peripheral device to transfer the world pattern to your minds, and your minds are pretty good at extracting them and assigning meaning for the input pattern, the understanding of the worlds as a built environment is shaped by your memories and understanding of the world itself, you rarely think of this because you are firmly settled into your built environment. Our reality (memories) are limited by our biological constrain, the understanding of space and time as it is today were also limited by our biological constrain.
Your biological constrain sets a gap between your realm and the future realm, limiting the possibilities of an infinite probability of reality that may occurs in your daily life, and technology are playing a big role in filling up that gap, connecting your realm towards the future realm. With technology, you could enhance your peripheral devices, unlocking the probability of another memories and realities.
Perception about 3-dimensional surrounding around you are also merely pattern translated by your minds, which means that it could also enhanced by technology, providing you with the new perception of 3-dimensional definition, and you could assign a new meaning of definite space. We could shape a new memory of space understanding.
We are provided with tremendous amount of technology. Imagine yourself being in more than one space at the same time, this kind of things will perhaps reshape the understanding and the memories that we have built before about space, and today these kind of things is no longer merely imagination. And through this we could conclude the very essence of moving around the city
While moving around the city, the only things that matters to you is getting from point A to B, we rarely appreciate the routes that we take, we take those routes because we needed to, rather than we wanted to, the routes that we take seems to be a merely subject that we ignore, the memories about the city is shaded by the intense city mobility where everyone pass through the city without assigning meaning to their built environment, so why don’t we just moves around the city because we wanted to? Creating memories about the city as we assign meaning to every details of the city we live in.
Your reality is shaped by your memories, you live in pattern world which later translated by your minds, your senses are merely a peripheral device to transfer the world pattern to your minds, and your minds are pretty good at extracting them and assigning meaning for the input pattern, the understanding of the worlds as a built environment is shaped by your memories and understanding of the world itself, you rarely think of this because you are firmly settled into your built environment. Our reality (memories) are limited by our biological constrain, the understanding of space and time as it is today were also limited by our biological constrain.
Your biological constrain sets a gap between your realm and the future realm, limiting the possibilities of an infinite probability of reality that may occurs in your daily life, and technology are playing a big role in filling up that gap, connecting your realm towards the future realm. With technology, you could enhance your peripheral devices, unlocking the probability of another memories and realities.
Perception about 3-dimensional surrounding around you are also merely pattern translated by your minds, which means that it could also enhanced by technology, providing you with the new perception of 3-dimensional definition, and you could assign a new meaning of definite space. We could shape a new memory of space understanding.
We are provided with tremendous amount of technology. Imagine yourself being in more than one space at the same time, this kind of things will perhaps reshape the understanding and the memories that we have built before about space, and today these kind of things is no longer merely imagination. And through this we could conclude the very essence of moving around the city
While moving around the city, the only things that matters to you is getting from point A to B, we rarely appreciate the routes that we take, we take those routes because we needed to, rather than we wanted to, the routes that we take seems to be a merely subject that we ignore, the memories about the city is shaded by the intense city mobility where everyone pass through the city without assigning meaning to their built environment, so why don’t we just moves around the city because we wanted to? Creating memories about the city as we assign meaning to every details of the city we live in.
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Questions: arch out loud team | 317.490.6142 | [email protected]