Development of industrial materials’ potential for narrative takes shape in this ongoing research. Materials meant for behind and in between our walls (architectural interstitial spaces) cross their designed boundaries to take their place in the room. Taking the shape and mechanic properties of those interstitial materials as a starting point, a line is drawn that crosses from practical means to what function for a domestic environment requires.
While conserving their personality as engineered objects meant for constructional and installation use, the purposeful arrangement under which they get combined, entitles them with an upgraded visual and functional value. These pieces, bring to light a re-interpretational approach to matter consumption and industrial standardisation, that opens up to a myriad of possible variations sprouting off standard.
This “interstitial space” opened up by the “disconnection between skin and structure” plays a crucial role: “For many, the real magic of this building is the dramatic sense of place in the ‘leftover’ spaces between the theatres and the enclosure. The curvaceous shapes of these public areas are the by-products of two separate design processes – those of the acoustic- and logistic-driven performing zones, and the climactic- and structure-driven envelope.” Is this space which offers not only exciting viewing areas of inside and outside, but also hidden corners to stroll or rest, not a potential utopian space?
(...)These “interstitial spaces” are thus the proper place for utopian dreaming – they remind us of architecture’s great politico-ethical responsibility: much more is at stake in design than it may appear. Recall William Butler Yeats’ well-known lines: “I have spread my dreams under your feet, / Tread softly because you tread on my dreams.” They refer also to architecture, so my warning to architecture is: when you are making your plans, tread softly because you tread on the dreams of the people who will live in and look at your buildings.