For those who are not familiar with the city of Lima, it is kind of a South American London. The sky is always dull, grey, sad. The only difference lies in the fact that in London it rains much stronger. It is not Lima´s fault being grey and boring though. It was never predetermined to be, but most importantly stay grey. Lima is as it is because we have chosen to let it be colorless. What’s up with the obsession with white? Why are most buildings in Lima made in exposed concrete or painted white? We seem to live in a lie, in which we decide based upon everything but context.
My Father was a lawyer. Nevertheless, he communicated me, his architect son, every small but interesting thoughts on space. I, however, never paid real attention to said ideas; Not to explore them, at least. I remember once he told me about a door-less house he had imagined: “I have always thought about a door-less house; One where you could find privacy without closing a door and find family without opening one”. Impossible, I thought right away. “How could I go to the Bathroom?”, was the first naïve question that eliminated the possibility of such a home from my mind. I was a first-year student, and I couldn’t be thinking about such nonsense.
Part 3: Both-And and Crossprogramming
An architectonic element is often interpreted as an absolute in a universe of dualities, or even multiplicities. “Either-or” is chosen instead of “both-and”. For example, a space can be considered as an outside or inside space, but never both. For Robert Venturi, “An architecture which includes varying levels of meaning breeds ambiguity and tension.” (Venturi, Robert 1966, p.23) In consequence, space can have various interpretations, which change depending on the observer. “At one moment one meaning can be perceived as dominant; at another moment a different meaning seems paramount.” (Venturi, Robert 1966, p.32)
Part 2 : Gradient
Even though Gradient is an inherent concept on architecture, it possesses an importance that is not considered constantly: Its application often involves gratuitous sets of absolute opposites that do not interact nor complement each other. Dualities in design; inside, outside; private, public; object, space; Are treated as incorruptible truths that cancel each other out. This creates buildings that have a mutilated content and a lack of mutual potentiation of the parts that make the whole. The value of a unified whole is far greater than the value of its parts by themselves.
The Architecture Biennale is an important time to think about the depth of what we design: New ideas that are key for us to define the future of the creative process are brought to our attention in a time where the fusion between human life and its experience through space is imminent. Today, a “millenial” generation demands for unique qualities of space that are only produced with a new approach on architecture.