— Smiljan Radic, Illustration as Wasteland, c. 2013
— Walt Disney, “On Imagination,” c. 1960 (via plensa)
"In Greek mythology, the Labyrinth (Greek λαβύρινθος labyrinthos) was an elaborate structure designed and built by the legendary artificer Daedalus for King Minos of Crete at the palace Knossos. Its function was to hold Minos’s son, Minotaur, a mythical creature that was half man and half bull. Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it. Every nine years, Minos made King Aegeus pick seven young boys and seven young girls to be sent to Daedalus’s creation, the Labyrinth, to be eaten by the Minotaur. After his death, Minos became a judge of the dead in the underworld. The Minoan civilization of Crete has been named after him by the archaeologist Arthur Evans. In colloquial English, labyrinth is generally synonymous with maze, but many contemporary scholars observe a distinction between the two: maze refers to a complex branching (multicursal) puzzle with choices of path and direction; while a single-path (unicursal) labyrinth has only a single, non-branching path, which leads to the center. A labyrinth in this sense has an unambiguous route to the center and back and is not designed to be difficult to navigate.”
— Eugene Viollet-le-Duc, Lectures on Architecture, c. 1859 (via bressani)
— Gabriel Garcia Marquez, “On Imagination,” c. 1980
— Benedict Anderson in Charles Rutheiser, Imagineering Atlanta, 1996
— Jonathan Raban in Charles Rutheiser, Imagineering Atlanta, 1996
— Istvan Orosz, “On Drawing,” c. 2000
— Albert Einstein, “On Imagination,” c. 1930
— Jorge Luis Borges, “On Paradise,” c. 1960 (via quote)
— Pamela Howard, What is Scenography?, 2003 (via steph)
we like to build
and we believe in reality.
but we also believe in possibilities.
we imagine alternatives
and we rethink the givens.
we search for meaning.
we think of architecture
as a place of habitation
as a social construct
as a space for the life of human beings.
we see beauty in rawness and refinement,
in dematerialization or even monumentality.
we are interested in how architecture creates memories
and how it creates stories.
we are interested in narratives,
in the stories that could be imagined
and that could unfold
within the spaces we create.
design is simply a tool
it is the tool we use in our work,
but it is not our work’s meaning or content.
architecture should connect
the people that inhabit it,
the people that imagine it,
cultures and natures,
technologies and materials,
psychologies and experiences.
we are inspired by complexity.
by its beauty and freedom,
by its subversive nature,
by its inability to be completely defined.
but we are also committed to clarity,
to a strong rationale and logic,
and to a thorough understanding
of whatever is at stake.
we are professionals,
but we question our own assumptions.
we don’t simply tell you what you want to hear,
but we try to identify what you should know.
we do not only observe or analyze,
but we engage and become involved.
and we change our own position
while we change our environment.
architecture is about responsibility
and it requires the fullest commitment
to its realities and its fantasies,
to its demanding and intricate process.
we are partly european
and partly asian.
our minds and experiences
are a hybrid of different cultures
we are interested in what we can learn
and how our own position
creates links between the multiple realities
the world is embedded in.
we engage in an exploration of strategies
rather than the implementation
of predefined methods and matrixes.
knowledge is as important
as the ability to think things anew
we believe in our intuition
and we believe in its utmost importance
for everything we do.