Nspirations / / / ARKHENSPACES / / Paris

Bill Viola / // Emergence

2012-02-23T11:20:00.000+01:00

Vertigo

2012-02-16T13:56:00.000+01:00

Natural Climbing Garden / / Rotterdam / / / Netherlands

2012-02-07T15:16:00.001+01:00

Insideout / // Paris / / canal de l'ourq

2012-02-07T10:23:00.000+01:00

Happy new year

2012-01-24T17:20:00.001+01:00

The INSTRUMENTOWER by Arkhenspaces

2011-11-09T20:12:00.002+01:00

The Taiwan reeds : an InstrumenTower in Taiwan (Taiwan Tower international competition)
A visual and musical building to color the city.

More informations

LVMH foundation

2011-10-31T12:45:00.000+01:00

Visit of the building site Louis Vuitton foundation for contemporary art designed by Frank Gehry (Jardin d'acclimatation, Paris) 

- confidential -
- no photos....- 

But it is going to be great !!

Nspiration...

2011-10-17T10:27:00.003+02:00

What are the tendencies of the “user-living space” interaction?

2011-10-17T10:22:00.008+02:00

Interview by Ksenia Yakunicheva in "Questionnaire About the Future Living Space. Data Analysis". 

Mr. Kiyonori Kikutake

First of all, thinking of what is the most important area in the Japanese living space, the living room should be mentioned. In US it is called a “living room.” Such living room is the symbol of any house, the most important place. It is the place of the most respected person – for example, the grandfather, where he, let’s say, scolds children.
- Even now?
Now as well. In the Japanese house it is called the “black column” (it’s a place, where the most important supporting column is placed).
- Even in the modern house?
Yes, however, in the modern houses more often a living room can be seen. The living room is an important place for the representation. Probably, in Russia it exists as well, especially in a village house.
- No… maybe in Russia not…
No, must be. Except for a city house, must be.

Mr. Ron Dvir

Objects were invented either to solve a problem or to improve the current situation. Candles were created because it is dark. Later on light bulb is invented as it is more convenient. But what will be the future trend when a light bulb is presumably ‘good’ enough? The answer goes back to the creation of multi-functioned object. With the user’s interference, the possible uses of a single object are maximized.

Mr. Eric Cassar

Human being interacts with his daily made environment through the senses. He can ‘individualize’ a daily space environment for example entering into a museum make you feel something, entering into the same museum listening a music is something else. You are the only one having this music and it transforms the impression of what you see. So user, helped with several outside objects, can act onto the perception of the space he had… The living space can also act onto the onlooker feeling : it is not the same to enter in a small low ceiling room than into a huge space (sound, smell, vision and feeling of movement (inner ear) are different).
We could imagine that in the future a user can really act onto the space not only for himself like with an ipod but interact for everyone. Depending of its localization in the space, of its movement, of its speed... he will be able to transform the color of a room (ground, wall and/or ceiling), its light, its hardness, its slope or why not its shape : a sharped angular space (parallelepiped type) transforming itself into a blob or a round parallelepiped almost like an ellipse.

NASA // Animation

2011-10-13T17:39:00.001+02:00

NASA's Swift Satellite Spots Black Hole Devouring A Star

Leandro Erlich's Swimming Pool

2011-10-13T17:36:00.000+02:00

Exhibit at PS1

2011-10-08T15:44:00.001+02:00

"Architecture is an unfrozen succession of impressions which involves every senses of the stroller (both spectator and actor)" 

by Eric Cassar 

ILSE AND PIERRE GARNIER /// Spatial Poetry

2011-10-08T15:42:00.000+02:00

Nspiration...

2011-10-04T20:18:00.000+02:00

Virage Café

2011-10-04T20:14:00.000+02:00

ARKHENSPACES rehabilitates a villa in Versailles...

2011-09-28T20:30:00.001+02:00

The extension is visible as an addition to the initial building, this way, the house will express two periods of time. The extension is a light volume and is similar to an artist studio.

click here for more information about the project 

Villa Savoye /// Le Corbusier

2011-09-19T21:16:00.001+02:00

Van Gogh

2011-09-19T21:15:00.001+02:00

2011-09-15T20:18:00.000+02:00

"Architecture will cease then just to be a stone 

and become a touchstone instead" 

(Eric Cassar)

Coliseum of Rome

2011-09-13T20:51:00.001+02:00

What are the main problems (and their solutions) of the currently existing living space?

2011-09-13T20:41:00.000+02:00

Interview by Ksenia Yakunicheva in "Questionnaire About the Future Living Space. Data Analysis". 

Mr. Cliff Chan

In the currently existing living space, we observe that elements around us are mainly of a monopolistic use, which means, they fulfill only one function for each object. Devices are scarcely put together and create various possible situations. This would create an inflexible living space and lead to too monotonic scene, since resources are not fully optimized, and as a result, the objects are redundant in use. The possible solution is to use creativity and seek a way to compose objects into multi-prupose use.

Mr. Ron Dvir

Waste...of  space, energy, resources … Waste of opportunity – the living space  could have been such a great enabler of connections, of human  development, of joy. Only 14% of this potential is really used. On the  one hand - old thinking: no real breakthrough in thinking in this area  in the last decades. At the same time, we did lost some of old times  wisdom (the art of old squares and street life, and the many generations  house (grand partners, grand children, the uncle and the pig all  together).

Mr. Eric Cassar

The main problem is when individuals forget completely the physical living space to dive into the virtual space through a computer. They forget their body, where the ‘real feelings are’. I do not believe that our body is a jail. It is an envelope which is stimulated by the thoughts and by the environment (including people composing it). It is made of captors and it can react and act, interact. So the important thing is not to let developing some model of spaces which are not able to be - at least sometimes - linked one with each other. Creating new bubbles with no link with our physical world and where people are immersed in an environment permanently outside the physical life, has no sense. It creates a world next to a world. It looses you. In the future, internet and virtual life should be more incorporated into physical spaces generating the nspaces. Global spaces will then become richer. Dimensions should not be one next to each other but they should have the ability to be melt together, sometimes connected, sometimes disconnected… We should never forget that a human being is not just a brain, it has to feel from its flesh, to run, to dance, to make love….

Acrobats /// Empire State Builind

2011-09-05T12:38:00.002+02:00

Amien's Cathedral

2011-09-05T12:36:00.002+02:00

Paris /// Notre Dame's Cathedral

2011-09-02T22:38:00.000+02:00

Paris /// Les halles

2011-09-02T22:20:00.000+02:00

Châtelet les Halles

Julien Blaine's poetry

2011-08-31T12:25:00.000+02:00

Houses in Cambodia

2011-08-31T12:22:00.001+02:00

Ce qui arrive /// Paul Virilio

2011-08-26T11:15:00.000+02:00

"Ce qui arrive" exhibition by Paul Virilio /// 2003

(Cartier Foundation for Contemporary Art)

Claude Monnet's house /// Giverny

2011-08-26T10:53:00.000+02:00

Waterlilies

ILSE AND PIERRE GARNIER /// Spatial Poetry

2011-08-22T10:08:00.000+02:00

Pierre Garnier (with Seiichi Niikuni)

Poèmes Franco-japonese

(1966)

ILSE AND PIERRE GARNIER /// Spatial Poetry

2011-08-22T10:02:00.002+02:00

Ilse Garnier

Ermenonville. Partition for a lonesome walker
(1984)

Ronchamp's Chapel /// Le Corbusier

2011-08-17T11:21:00.001+02:00

What are the main perspectives of the “Intellectual Living Space”?

2011-08-17T10:57:00.000+02:00

Interview by Ksenia Yakunicheva in "Questionnaire About the Future Living Space. Data Analysis".

Mr. Kiyonori Kikutake

It is a big problem. Now everyone starts using such new technologies as, for example, camera, TV. Information is the way people think. At the moment those things, I’m thinking right now about, can be directly translated and received. Before the information was distributed implicitly i.e. through the newspapers. However, now citizen will value the power of thought more. One should express his/her own opinions, but not what is seen or heard by TV.

Mr. Cliff Chan

As the world population blooms, the need for space will greatly increase. The application of “Intellectual Living Space” is the only way to go. With just a slight tweak, different scenarios are put on stage in the exact same space. The space transforms and the user is always there. Resources are therefore optimized.

Mr. Ron Dvir

Since you use the term “Intellectual…” you might be interested to explore how to apply the Intellectual Capital (IC) model to the living space. This model defines different types of intellectual assets of organizations, e.g. “human capital”, “structural capital”, “relationships capital”. One can design a space to nourish the IC of the family, for example.

Mr. Eric Cassar

I do not believe in an architecture that is able to capture our inner emotions, except maybe in a performance show… Privacy and mystery will remain and that is better ! But I think that the inside environment could be able to capture information concerning physical state such as the temperature of our body and then could be able (at least in some small space) to adapt itself in function of this information. For example if the onlooker is completely wet, the environment could be able to dry the body. Environment could then adapt itself depending of the modification of our feeling bubble...

2011-08-15T19:54:00.000+02:00

"History is the development of Spirit in Time,

as Nature is the development of the Idea in Space." Hegel

Bill Viola /// Acceptance

2011-08-15T19:48:00.000+02:00

2011-08-12T18:49:00.003+02:00

by Marcel Duchamp

Atomium /// Bruxelles

2011-08-12T18:47:00.003+02:00

by André Waterkeyn

Comtemporary art district

2011-08-10T10:06:00.002+02:00

by ARKHEnSPACES /// 2004

More information on the project here

2011-08-08T11:31:00.000+02:00

"Architecture is just a life frame" (Eric Cassar)

Paul Virilio /// Cartier Foundation for Contemporary Art

2011-08-08T11:14:00.004+02:00

"Ce qui arrive" exhibition by Paul Virilio /// 2003

(Cartier Foundation for Contemporary Art)

Ce qui arrive /// Paul Virilio

2011-08-08T10:55:00.004+02:00

"Ce qui arrive" exhibition by Paul Virilio /// 2003

(Cartier Foundation for Contemporary Art)

2011-08-05T11:28:00.003+02:00

by Malevich

2011-08-05T11:27:00.001+02:00

by Mies van der Rohe

Danse Serpentine /// Loie Fuller

2011-08-03T10:11:00.002+02:00

Are there any tendencies in the structural development of the living space?

2011-08-03T10:03:00.000+02:00

Interview by Ksenia Yakunicheva in "Questionnaire About the Future Living Space. Data Analysis".

Mr. Kiyonori Kikutake

The majority of people things that the structure comes from technology. However, besides technology, there is also the mental (spiritual) component that is also necessary to think about. We should consider the way the phenomenon of a family changes and its further transformations in the future. Here when translating some misunderstanding may occur, that is why, I give some examples:

One of them is the Sky House. It is an example of the design, when people thought of what will first of all change in the future in the living space, and accordingly were choosing the appropriate elements. The most changeable part in a living house is a kitchen. What changes at the kitchen, is food. With time the food we cook changes, for example, when electricity replaced gas. The oven changed. Considering such future changes is the basic idea. However, it requires a lot of efforts, that is why, many designers and architects avoid is, which is a big mistake. It is wrong to design on the base of the nowadays situation. We have to think about the future. For example, in Japan depending on a season and the food served the utensils change. That is why, in every home there must be a lot of them.

The one, who cooks Japanese traditional food has a lot of utensils. That takes a lot of energy, because one must think, what kind of plate to use. The space is also organized in a certain way that allows having space to store the utensils, namely, there are a lot of shelves. Even when we discuss the kitchen, there are so many aspects of what part of it is going to be changed.

Mr. Cliff Chan

In the structural development of the living space, since the global population is expanding, the elements act under high-density. In return, with the extreme limitation of tight space, everything is organized under compacted situation. To fulfill human ‘s needs and desires, objects of the living space tendencies would be transformed into multi-functional uses, which optimized for compact living style of human beings.

Mr. Ron Dvir

Some hints in my answers for the previous question.
In addition:
I am nowadays interested in the concept of space as an enabler for “making new connections” between people. So can imagine “Contactivity” (word coined by Prof Leif Edvinsson) as an organizing metaphor. How to design the space in a way that it enable deepening existing connections and creating new ones?

Mr. Eric Cassar
The living space will not be a space anymore. It will be an nspaces that means a sum of spaces. It is very important to consider spaces (plural) with more and more connection in every of the n-dimension (see Arkhenspaces = organisation and command of the nspaces) including virtual and physical connections. On the other hand it will be very important to create space with
almost no connection.
“So today architecture can not be satisfied anymore with a 4-dimensional organisation, it must be treated with the complexity of our time: a multi faceted world. It has to propose a work that has impact, creating connections between the individuals in and with these n dimensions [connected]. On the other hand it ‘extirpates’ individuals out of this communication nub [disconnected]. This disconnection has to offer a comeback to a here and now consciousness to men sometimes lost in the incessant data stream: an exchange, from the state of actor in the ‘nspaces’ to the one of spectator. This step seems to be a starting point for a ‘regeneration’ to keep clarity on our existence in the world, the physical world. There, it could then be possible to attract one or several ‘elsewhere’! It is necessary to be aware of our bubble to better apprehend others bubbles.”
(in Arkhenspaces, Eric Cassar 2006)

2011-08-01T10:54:00.003+02:00

by Piet Blom

Air-conditioned Clothes Help Global Warming ///

2011-08-01T10:33:00.002+02:00

Claude Parent's favorite project /// 4

2011-07-28T10:38:00.000+02:00

Cascade Gardens /// Hong Kong ///

More information on the project here

Claude Parent's favorite project /// 3

2011-07-28T10:35:00.000+02:00

Bridge museum /// Venice ///

Italy

More information on the project here

Claude Parent's favorite project /// 2

2011-07-28T10:30:00.000+02:00

Prehistory Museum /// Jeongok ///

South Korea

More information on the project here

Claude Parent's favorite project /// 1

2011-07-28T10:13:00.001+02:00

National Library /// Praha ///

Czech Republic

More information on the project here

2011-07-27T12:02:00.000+02:00

2011-07-27T11:56:00.000+02:00

Capadoce

2011-07-27T11:53:00.003+02:00

Love Valley /// Capadoce

2011-07-26T12:50:00.000+02:00

"However simple, architecture should always contain

an element of surprise" (Eric Cassar)

2011-07-26T12:47:00.000+02:00

Designing Honk Kong /// 1st rank

2011-07-25T11:03:00.001+02:00

Arkhenspaces has been ranked first by the audience for the Designing Hong Kong competition "Central Waterfront":

greatest number of votes (9488), greatest mark (4,7/5).

http://centralwaterfront.designinghongkong.com/index.php?lang=eng&sort=avgrating&orderby=DESC&max=8&page=1

Arkhenspaces is currently working on a 3rd competition in Asia:

Taiwan Tower

2011-07-22T18:59:00.002+02:00

Nowadays in the design of the man-made environment the function progressively develops and the form progressively “disappears.” In respect with that, how do you imagine the living space of the future? ///

2011-07-22T18:29:00.000+02:00

Interview by Ksenia Yakunicheva in "Questionnaire About the Future Living Space. Data Analysis".

Mr. Kiyonori Kikutake

The most important thing in any house is the living space. What is significant is the way we live in our home. Until nowadays the architects were designing houses without thinking of the living space itself. It is a wrong approach and we necessarily have to think about the development of the living space. That is why, the methodology, the approach should be defined. There are three steps: first comes the form, the visual beauty. However, only the beauty is not sufficient, so the second step is important – the technology. If to really try living in this or another environment, one will understand whether it will be appropriate for everyday activities, for relaxing. Such real technologies are important. In order to create a comfortable living environment, it is important to know, what kind of family will live here. Thus, the appropriate “culture of building” should be chosen. The technology should develop starting from it; and the production should be aware of the practical use. The third step is the future. It is the last step. If thinking of these steps, in the future all the people, poor, rich, disabled, people with problems, very different people, will live happily. It is written in my book about it.

Mr. Cliff Chan

Man-made objects ought to be more ‘tailor-made’ in the future, which allows them to satisfy human wants much more efficiently. Multi-functioned objects are the trend of the future. A simple cell phone nowadays is actually the sum of a phone, a camera, a radio, a map, and lots of other things in the past. Presumably every object will become so convenient that the boundary of a particular object will be blurred. Is the object still itself if it can serve the purpose of various ones?

Mr. Ron Dvir

I can imagine that the forms are modified according to the function. This means that each living space will be equipped with a set of different “skins” that can be changed in few minutes according to the action happening in the space. For example, quick change in the ambiance, e.g. through different lightening scheme, virtual windows with different landscape etc.There will be a shift to mush smarter use of the space, e.g. how to make an 40 SQM apartment feels really spacious. This is linked to the sustainability agenda, of course. And the third thing: how the environment can help me to express and even develop myself, my uniqueness, my area of interest. So, a shift from generic synethttiqu (It means: made in a laboratory, not something that evolved thorugh a rich human process) and even sterile environment into much more human scale individualized one.

Mr. Eric Cassar

I answer those questions as an architect, considering the living space not as a stage in a theatre but as the stage of the daily life... To answer to those questions is about what I think but not necessarily what I wish.

I think that the future living space will interact more and more with the user whether he is an onlooker just passing by or an inhabitant using the space.

The living space will be able to transmit more information than the one that we are able to win and to understand in our 4-dimensionnal world. It will be able to transmit other information, to increase the reality thanks to other dimensions like the internet which will be everywhere into the space but more often generated and controlled by the onlooker (which then become an actor). Thanks to him, which will usually be one of the starting point of this access to new dimension, space will be augmented (see concept of augmented reality emerging a few years ago). We then could not talk of space anymore. We will talk of nspaces (n-dimensional spaces). Spaces and the objects composing it, will then become the support and the other starting point of the augmented spaces. Space (as we call it today) will then become a living support. A wall will not be static anymore, it will be a support for video projections and that way an access to new dimensions, a window to other spaces.

I also think that in the future the various senses of the human being will be more artificially stimulated, like a music can color a living space, there will be more and more use of the smell and taste, of the touch… to give a strong identity to space. This will be used at several scales: to give a specific smell to a shop, to a home but also to a town… Stimulation of senses will be more controlled and more complete in order to better identify a place.

To construct a building will not only mean anymore to construct walls, floors and envelopes, it will also mean to generate a program, a computer program which will become the ‘brain’ of the building. It will be part of its identity as a shape, a color or a matter. Sensors such as microchips inlayed into walls, floors, outside, inside, etc will bring information (input) to the program which will then stimulate or change the inner nature of the inside space or react through screens (such as mobile phones or walls) and so on. For example electronic chips will inform us that a parking spot is free. Sunlight sensor will adjust the inside light. Sensor can also capture onlooker actions into the space. Spaces are moving together or independently, connecting themselves or not. Nspaces will be managed by the program, depending on the situation, the will or the quantity of human beings that are in the nspaces. Nspaces will then interact with the onlooker, with the outside environment but also with other ‘actors-spectators’ that could be far away from the place. Living spaces will not be static anymore they will be moving, connecting and/or disconnecting spaces. Interactivity will be part of our daily environment.

Nspaces will then be interactive, more reactive and more complex, more complete. The architect will be the creator of the building, its flesh but also its brain, its program. He will create opened possibilities. That way the complex global environment including spaces, onlookers, inhabitants, climate will generate random inputs to the program which will generate ‘outputs’ that are channeled but still unpredictable. It will create new configurations at anytime... The architect will not fixe or congeal a space, it will connect, configure and open more and more in a way that allows randomness into the process because it is what surprises and what gives an unpredictable taste to the place. Architects will also need not to forget that simple things can sometimes provide more pleasure than complex ones. When you are very thirsty, nothing is better than a simple glass of water....

2011-07-21T15:33:00.003+02:00

by Arkhenspaces

Apartment F. /// Paris

End of work /// May 2011

86th floor /// Empire State Building ///

2011-07-21T15:00:00.002+02:00

2011-07-21T12:53:00.004+02:00

"I want the architecture of a liquid mountain on the plains
at dawn"
(Eric Cassar)

2011-07-21T12:50:00.004+02:00

« to Eric Cassar. - dear colleague

I had a blow of heart

for the National Library

of Czech Republic Splendid.

And the Prehistory Museum

and also elegance and intelligence

of the bridge in Venice

without forgetting cascade gardens in Hong Kong.

[...] »

Claude Parent architect
letter - 13 april 2008

2011-07-21T12:37:00.005+02:00

2011-07-21T12:34:00.005+02:00

by Nicolas Schoffer

Chaos Architecture ///

2011-07-21T12:22:00.002+02:00

"You must have chaos within you to give birth to a dancing star". Friedrich Nietzsche

N.B.: The "chaos" architecture referred to here is deterministic chaos, in other words a complex system whose behaviour may appear random but which actually follows rigid laws.

Introduction

In the notion of chaos, it is the unpredictability factor that strikes us the most.

"The flap of a butterfly's wings in Brazil can set off a tornado in Texas." Lorentz

In our case, unpredictability is seen from the perspective of the passer-by. It may be likened to the unexpected.

Architecture should move in the n dimensions and should surprise, in other words it should not be predictable. This is why we need to strive to free our minds of all (aesthetic) preconceptions.

The purpose is not (in the Derridian sense) to deconstruct existing systems to understand their workings and reproduce them. Instead it is to:

deconstruct the system
construct a new non-apprehendable system by adding a measure of unpredictability – in other words a case-by-case response – in addition to the same and/or different basic axioms.

Adding unpredictability, particularly via aesthetic – apparently arbitrary –, criteria, is a way of creating an unexpected system capable of surprising at all levels of perception.

Definition

Geometric architecture is a form of architecture governed by the "laws" of simple geometry (symmetry, golden number, etc.). It produces shapes rarely found in nature (right angles, cubes, etc.).

Organic architecture is architecture that is governed by "laws" that imitate or are inspired by nature.

Chaos architecture will be architecture governed by "laws", possibly geometric and/or organic, including the notion of chaos, in the sense of creating an impression of apparent disorder, unpredictability in the eyes of the observer. It also includes subjective data that is neither random in nature nor the result of chance. - Unpredictability, in the mind of the onlooker, the observer of space, will be the result of new and contextual aesthetic factors – A chaotic system can only be partly deconstructed because it is composed of a new type of internal structure that is impossible to measure scientifically.

Design / representation process

Axioms

The only real rules are:

allowance for context (flows, climate, history, geography, culture, geology, various constraints, general environment, etc.)
architecture not expressable by means of a single mathematical model
choice of a final form that is both considered and deliberate. It must not be the result of organisations, functions, machines or random computer output but correspond to aesthetic criteria that, at first sight, can be neither quantified nor apprehended – It is not the computer system or its software that produces the design – they are merely tools –
the whole thing must be new on one or several scales and levels

Sources (non exhaustive)

Looking back, it is possible to find systems that could, at least partially, be described as chaotic:

Slum neighbourhoods and the various types of vernacular architecture (chaotic in function through haphazard development and not the result of design/thought/overall concept).

Some of the work of certain architects or artists may also show similarities: Claude Parent, Lebbeus Wood, Coop Himmelb(l)au (in their early period), Gordon Matta Clark, etc.

Chaos architecture has its roots in architectural history.

Relationship with contemporary society, when chaos has meaning

The word "chaos" (or "chaotic") should not be understood according to its normal meaning. Chaos architecture cannot stem from a roll of the dice – which will never abolish chance^¹ – or any other random factor (software or other). It is a considered response, albeit new in the way it is expressed (although it may not be new as such), initially reflecting the world in which we live, itself a hotchpotch of disparate elements, where there are so many random and/or conformist proposals that striking, innovative concepts are unable to emerge. But it is very soon clear that this reflection is deformed. Chaos architecture will, by contrast, condense and transcend our era by bringing a new form of organisation, composing to offer a new direction. It must always adopt a critical stance in relation to the surfeit of proposals. To give a (purer) meaning to the works of the tribe².

1 "A roll of the dice will never abolish chance" Stéphane Mallarmé

2 "Giving a purer meaning to the words of the tribe" Stéphane Mallarmé

Such architecture is therefore not an ode to our times but more a criticism of an era incapable of combining the rational with the irrational, of following a specific direction; an era stifled by a succession of mini-waves (fashions) randomly following different directions from the past. A period hallmarked by precisely the sort of chaos we are out to condemn, chaos that is the result of chance, disorganised, limp, without interest… where all things are equal, with neither relative values nor tastes; chaos masquerading under the banner of fairness and democracy. Since, to my knowledge, there is nobody capable of producing a vision [leaving aside ecological architecture, for all architecture should be ecological, whether biomorphic or computer-designed (a computer is an instrument and instruments alone cannot give birth to a new vision)].

The aim of chaos architecture as defined is not that of accepting this era, nor that of simply juxtaposing different styles or micro-movements. Its aim is to transcend the status quo and create surprise by offering both constant and isolated cohesion – even if this is difficult to recognise at first glance, since it is not based on conventional rules –.

Such architecture sets out to rationalise chaos. "Setting a scene comprising potentially conflicting elements, placing them in position, uniting them and creating harmony among them." Claude Parent. Reorganisation is necessary so that the chaos is merely apparent. The aim remains to offer something new and unpredictable, namely the inability to imagine the whole project from seeing any one of its individual parts.

The system, building or urban development thus achieved is something that will be constantly renewed through movement through the nspaces. It may be expressed by means of a variety of architectural currents.

[...]

Eric Cassar 2008

Translated from French by Christine Cross

To read more on the subject :

http://www.arkhenspaces.net/arkhenspacesrese.html

2011-07-21T11:47:00.007+02:00

by Soutine /// View of Cagnes

2011-07-21T11:17:00.000+02:00

by Jean Nouvel

/// ARKHE N SPACES ///

2011-07-21T11:02:00.002+02:00

space : 3-dimensional

Nspaces : N-dimensional

The nature of mankind must be taken in consideration in architecture because we construct for men. Men have to live in architecture and even live architecture itself. Every man is an actor and a spectator in the world.

Forever architecture characterizes the creation of an area in space. Unlike construction, the art of architecture has to stimulate particular feelings to the walker as a spectator of spaces. It has to surprise him, to question his curiosity and to open his senses. It has to invite him to include himself in the work in order to complete it. Serene or dynamic, it must stimulate the spectator, shout at him or, on the contrary, create a vacuum of stimulation. Spaces from the past are no longer the same as spaces today. The passage from 2 dimensions (frontage architecture) goes to 3 dimensions (concepts of volume and space). Next are 4-dimensions with time intervention and concept of movement in space (from the beginning of the 20th century). Today architecture is design throw N-dimensions. It organizes and emphasizes links between various current dimensions (public space, private, TV, Internet, virtual connections…). Thanks to the new individual or collective communication tools and means such as

mobile phone, laptop, electronics panels, video screens in the city…, an individual is linked with various real and virtual spaces without being aware of it. So today architecture can not be satisfied anymore with a 4-dimensions organisation, it must be treated with the complexity of our time: a multi faceted world. It has to propose a work that has impact, creating connections

between the individuals in and with these N dimensions [connected]. On the other hand it ‘extirpates’ individuals

out of this communication nub [disconnected]. This disconnection has to offer a comeback to a here and now consciousness to men sometimes lost in the incessant data stream: an exchange, from the state of actor in the ‘Nspaces’ to the one of spectator. This step seems to be a starting point for a ‘regeneration’ to keep

clarity on our existence in the world, the real world. There, it could then be possible to attract one or several

‘elsewhere’!

It is necessary to be aware of our bubble to better apprehend others bubbles.

Architecture is both container in a context and content in relation with its context.

Architecture must provoke, produce an impression to the spectator, a sensation in and of the Nspaces matter. It has to speak with its context by organising and taking benefits of the N external dimensions. Architecture can be present and emits new impressions to the spectator who can accept or refuse to receive them. It can be related to the manner of a kitten who chooses to experience space in every directions. Architecture can also ‘withdraw’, creating a vacuum of impression, to offer neutrality. In every case, the user has to appropriate it. Architecture don’t to impose a single vision. Each individual, also spectator, has to take part in its completion: to give it life.

Architecture is perceived through various points of view:

- Artistic: to offer most people less expected, less monotonous and more original places; single, new, reinvented and regenerated impressions. “Beauty will save the world.” Fyodor Dostoyevsky. Beauty may not save the world but lack of beauty will annihilate it.

- Social: to engage individuals to get in touch with one another throw multiple spaces, to work for the community, for the well-being and the respect of everyone.

- Technique: Architecture is an art of constraint although physics (gravity…) must still be considered. Beautiful images, bird eyes view projections, must become reality (and not remain virtuality). That is why it is necessary to consider all of the technical elements and the real contextual data. These elements have to be erased and then reappear in the architect’s mind; a non constructible architecture remains on paper. Design must challenge the technical and physical elements in order to advance architecture in a practical way (durability, waterproofness…).

- Sustainable development: we have to keep in mind that we construct for a better being. This means the future, taking the environment and the respect of our planet into consideration, for it will be the same planet for that of the next generations.

To disturb horizons evidence

To surprise, to disconcert

- overlapped landscapes -

To make contemplate there around elsewhere

To unmake undo

And to propose the experience of a free flowing poem

Eric Cassar 2006

ARKHENSPACES /// Film

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ARKHENSPACES /// Atelier

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Winner of the Architecture ‘Académie des Beaux-arts’ award

(November 2010 – November 2011)

Created in 2005 by Eric Cassar, ARKHENSPACES is an architecture atelier with a focus in research, design and construction of new contemporary spaces. Each project always integrates various points of view : artistic, technical, environmental (sustainable development).

The “Académie des Beaux-arts” award in Architecture (Pierre Cardin prize) recognizes the overall work of Eric Cassar.

In six years ARKHENSPACES responded to a score of international competitions for which the atelier had the occasion to develop new concepts of architecture and urbanism. Selected in the second competition phase of RIBA (2007), ARKHENSPACES received the Special Jury Prize for the «Landscape for a city motorway, Middlesbourgh, UK.»

ARKHENSPACES works on theoretical research topics. Since 2005, the atelier has been developing prototypes of new concepts of motorway service areas, urban service areas and bioclimatic service areas for TOTAL (in Europe, Africa and Middle East).

In addition, ARKHENSPACES designs projects for private clients (building rehabilitation and villa extension, apartment conversion ...).