Our closest most human bonds are not forged easily. Fleeting glances and serendipidous encounters cannot shape the internal bedrock of our most guarded emotional memory. Only the strongest most beautiful human ties achieve such a rare feat. Our traditional employment of physica ltools and brute force for a task of this nature are of no facility. Patience, heart, and chance are some of thequalities required for a miracle such as this. And, only if individual patience remains sound and fate is allowed to reveal her true motivations may profound human bonds be born from tears of forgotten loss. The emotion thriving in embedded bonds born of patience become capable of more than simply marring stone. The strongest of these connections conjure a penetrating brilliant magnetism whose embodiment etches and vaporizes the most durable of nature’s geology. The relief buried in these stones, echo in memory of the phenomenal and beautiful power born from one relationship given two. Embedded those memories resonate.
I am first and foremost interested in designing a sensory experience, born from the indigenous cultures of our past, and re-contextualizing them in the modern era. It is my contention that the modern condition does not create architecture that caters to the five senses; instead it caters to one sense. In this distillation everything has been lost. When imagining powerful phenomenological environments that stimulate all senses, imagery of man’s primal beginnings resonate. Our primal beginnings were nomadic in nature and tied to notions of the indigenous. Indigenous tribes were defined through a close connection with the processes and materials of the natural world. The rising and setting of the sun, the gradual changing of the seasons, and the sheer power of the weather were processes our primal ancestors experienced and retained. What is it about the experience of a warm igloo buried in a frozen landscape that is so phenomenal and experiential? When imagining it’s internal shell, I picture brilliant white sunlight transformed into a tapestry of blues and grays washing across the surface like colors on a concave canvas. The implementation of natural materials, like ice, in systems such as an igloo, produced honest tectonics. These materials were unrefined, unfinished, and retained the inherent earthly properties. I believe the material assemblages and sensations experienced by these indigenous cultures are most phenomenal, architectural, valuable, and human.
If we assume the above to be true, then it is follows that we should aspire to model buildings of the modern era after the successful materials and imagery associated with indigenous architecture. Can we use the knowledge and rules of past cultures to inform a ‘new vernacular’, a vernacular of the modern era born from the ideas of our ancestors? It is my contention that there is a vast reservoir of primal knowledge trapped in the indigenous which is more relevant today than at any other time in the history of civilization.
Architecture creates space for the inhabitants of a society to both function and thrive within the cultural, economic, and social fabric of civilization. As digital technology becomes more pervasive, it threatens to fundamentally augment societal norms, changing the member’s way of life. How then will architecture itself change to perform it’s primary task of creating space for the, now changed, inhabitants of the technological society?