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Bella Janssens
Inter 5
Here in my living room the process of a burning forge is reflected back into the room from the garden, setting the teapot on fire.The mode of drawing I undertook started to activate two fundamental forms of energy: folding and time. Time acts as the operative device that starts to tell the story that is happening through the spaces. Each of the objects, one being the working forge, affects an unexpected variable, such as the reflection on the glass wall of my living room setting the teapot on fire: therefore time changes the scale of the event. Through folding, the spatial configurations of each scene are realised. The drawings start to act as a representation of a condition of space through time. As a rather more frozen version of time, the similarity with my prototype lies in the way Alberti takes the façade, changes its scale (for example, when he introduces an extra pilaster in the corner of the nave) and repeats it within the interior along the faces of the chapels: therefore the unfolding outlines the configuration of spaces where time starts to illustrate the sequence that Alberti has created in the metamorphosis of his walls.My project attempts to reignite and uphold the intricacies of daily lives by providing a continuity of space and breaking away from these shoebox sized social housing apartments. The logic of folding (i.e. mirroring and rotation) within the tower can act as a means to create accidents whereby a spatial condition is explored, one where the inhabitants’ proximity to a nucleus can start to uphold the intricacies of daily lives. The logic of the prototype is the transfer of energy from one variable to another with time acting as a fourth dimension and this logic is translated into a system of mirroring and rotating planes within the tower. The staircase obtains the task of a nucleus yet also succumbs to a transformation through the vertical densification of public spaces.