different levels of crossing all borders
Borders exist by means of difference. This implies that the discussion about them always revolves a dichotomy, making borders happen in two opposing states; standing or torn down. Given the contemporary state of things, we chose not to look at the agents of this opposition but at the relationship (how they situate themselves in) as an object. It is our strong belief that abolishing or reinforcing the boundary only justify its existence/purpose and therefore devising a third option is necessary.
The proposal begins working with the representation of the limit - the first boundary – a line in the sand. On the bare concrete flooring, diagonal lines of chalk mark a sequence of spaces that bring to mind process of progression. Although refreshed at certain intervals, once passed both them and the passerby are changed. They are disappearing under the protagonists feet as they consume culture; limits are redrawn by people’s interest, regardless of their individual differences.
On top and against them are representations of strong boundaries- walls. Formally they are based on a world spread technique (brick laying), and swirl and turn attempting, and failing to enclose a space. These walls are useless, and become a plaything. In their attempts, their shape and configuration become permeable; objects that one can see through, The useless walls stand as witnesses of the dismantling of frontiers (as concepts), wavy as shores of no limit.
Above, standing both as conclusion and foundational thought a swarm of objects is displayed in a circular shape. These objects are platonic imitations, circling the ‘Idea’ of ‘Culture’; arkhitekton’s wood ground down into paper, made into books and recycled afterwards. Pointing together at the contemporary ecosystem of the printed medium, the materialization of culture.
An insight into the paper industry reveals that even the act of recycling produces waste (due to various motives). To overused and contaminated (with plastics, metals, inks, etc) to be recycled into paper (and thus to be reintroduced in the cycle of culture) this waste material is, generally, discarded.
The pavilion makes use of this material to finally dislodge the conceptual threshold; back into the architect’s hands what once was a piece of wood becomes the new construction material. We use it as a structure, as a starting point for developing new design opportunities that are transcending the common construction logic, refining the ugliness into embroidery.
Pressing and heat-drying the discarded pulp (waste) results in a lightweight aggregate board that displays similar properties with low-quality wooden boards. Its initial state (waste paste) allows for aesthetic and structural improvements such as mass pigmentation and reinforcement as well as making it a suitable candidate for complex fabrication processes such as casting and vacuum molding.
A new product emerges as a result of cross production between creative and technological industries.