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Kjetil Thorsen: But you have to do it. It is one of the areas where I feel that we have done a lot but at the same time, nothing. Do they cut the building below? El problema fue luego al bajar. Si le problème persiste, nous vous invitons à mettre à jour votre console. Fashion Show Revolution Phaidon, takes stock, in almost three hundred pages and with hundreds of photographs, of the work of the French Alexandre de Betak over the past 25 years. Generate download link.
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KT: We keep drifting in the direction of having sex with the landscape… For me there are only two situations in the world: the mountains or the sea.
Everything in between is kind of boring. BI: I totally agree. KT: But I like that. That type of challenge. If it is not windy enough, stay home. If you see where our offices are located in Oslo, we are completely exposed 60 C 11 to the weather.
The location is directly south towards the fjord, twenty meters away from it, and it is this huge warehouse that sits in the outermost peak of Oslo, below the castle. So you are getting all the weather: the winter, the spring, the autumn, the summer… We have all the fisherman in front. It is actually this kind of closeness to these things, as we were discussing before, that makes you learn from them. To design something you need to be filled with it. You have to be under the skin of things.
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Landscape does that to you. BI: Just to finish this landscape theme, I think that there is something that our work shares, this idea of invitation. You called it generosity. One of our first buildings, the VM Houses, has these triangular balconies, 5 meters long. The idea was to get so far out into the air that you could actually turn around and look at your building. When you are standing there, you feel in the air, surrounded only by your neighbors.
Obviously also with The Mountain and the Eight House, where you climb up a ski slope. In other words, the idea that each project somehow tries to make available something that would normally be off limits, so that you end up having not an accumulation of private domains, but rather a new kind of man-made landscape. KT: We talked about architecture being active. To me it is about prepositions: in, over, through, within… Anything that can relate to many prepositions all of a sudden moves into active positioning in relation to people.
If you can walk through, over, in, under, and so forth and so forth, then you are close to the landscape. Because the landscape and our whole language is based on the fact that we develop prepositions to define our position.
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It has to have a whole range of prepositions in order to be active. This was the discussion we had at the Venice Biennale, and that is why I am no longer happy with the separation between inside and outside in the debates on public space, simply because I believe that it is limiting to the architecture, and to the public space.
These are the type of things that I try to follow, and I see in your designs that you are trying to create active buildings too.
BI: Definitely. Is it a building? Do they cut the building below? Or is it outer space?
BI: That is exactly my dream. I have been saying this all the time, in a city map building is yellow, public building is red, park is green… and I have been focusing on this idea that industrial is gray. It is like this cancerous tissue in the city map, but I am curious to see how are they going to label the power plant. It should be green, or maybe red… but definitely not gray, even though it is also gray.
KT: I agree. These are the kinds of hybrids you learn about by moving back to nature and landscape. Landscape was never only one thing. Unless we accept the complexities of the systems we are dealing with, we will get nowhere. BI: Estoy de acuerdo. Ese tipo de reto. Debes meterte bajo la piel de las cosas. El paisaje lo consigue. BI: Para acabar con el tema del paisaje. En una de nuestras primeras viviendas, las VM Houses, introdujimos unos balcones de 5 metros de ancho.
Debe haber un conjunto de preposiciones para que lo seamos. BI: Sin duda.
Es como un tejido canceroso en los mapas. Nunca son una sola cosa. Si no aceptamos la complejidad de los sistemas en los que nos movemos, es imposible que progresemos. No podemos copiar la naturaleza, pero debemos pensar que cuando hacemos un nuevo edificio, no es una naturaleza artificial, sino una nueva realidad.
Las huertas de las azoteas en Nueva York, por ejemplo. We cannot copy nature, but whenever we create a new building, it is not an abstract landscape but a new reality. And reality can learn things from how nature operates, hybrid aspects. You have been focusing a lot on that when it comes to your social infrastructures, where you add one function on top the other. It is a fantastic strategy because it is what landscapes do.
They provide you with water but you can also ski. They provide you with trees, but you can also walk. BI: In my view there are two tendencies. One is an extreme centralization. Note: the link will be temporary. It's one of the millions of Created.
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Tablette Storio Max de Vtech – Le (très) grand test
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