PABLO KOBAYASHI, YOSHIO FUKUMORI, DÁNIEL EKE
Agnieszka Wir-Konas, Billy Morgan, Dalma Kató, Dániel Nagy, Denise Feldbacher, Heini Wandersstud, Máté Jambrik, Joanna Woś
TYPE infrastructure – fence, seats
Do we visualise our village as a completely open space, where boundaries and borders no longer exist? Are borders and divisions necessary? The invention of barbed wire was key to American colonisation. It was also one of the main causes of buffalo extinction and Native American cultural decline. A fence symbolises and expresses the attitude towards the definition of public and private. This definition, this delimitation is necessary, even natural, in any socially driven settlement. However, its expression is what defines how aggressive or how radical this boundary is. It should not be violent. It should be an element of integration, rather than division. As a mostly understated programme, it has the potential to weave through the rest of them all. It is a system that not only serves a single purpose detached from the user, but also promotes the inhabitants’ relations. The creators conceive it as an integrating device with different purposes: separating-integrating-mingling-orientating-negotiating.
Pablo Kobayashi is the principal of the Unidad de Protocolos (Protocols Unit) based in Mexico City. He studied architecture in Mexico and received a Master degree from the Architectural Association after completing the Emergent Technologies and Design programme. Co-founder of Briefcase, a company dedicated to the development of urban furniture systems that question the dynamics and definition of public space. He is interested in the development of a thinking structure that derives from the use of the computer but can prescind of it. He studies material systems and the relation between digital fabrication and craftsmanship through a deep understanding of the material ́s inherent properties. His work is constantly driven by the notion of emergence, where the results are not the direct sum of a system ́s parts but the interaction of simple components following a simple set of rules. He teaches at the Universidad Iberoamericana, UNAM and La Salle universities promoting the discovery of individual, emergent approaches to design based on accidents and discoveries rather than a stated methodology.
Yoshi Fukumori is interested in design, architecture, mathematics, physics and programming. He is always looking for ways to learn different methodologies regarding the design process to further develop and improve the results. He has participated in several workshops held in Europe about computational design, from which he developed a special interest in emergent technologies and digital tools. He has directed different workshops focusing on the form-finding processes of efficient three-dimensional structural systems deriving from material behavior, as well in interactive projects which emphasise the flow of information in real time between the physical and digital realm. He currently works at the Unidad de Protocolos as head of programming and design development.
Dániel Eke during his architecture studies in Budapest, at Moholy-Nagy University of Art and Design, joined ZHJ Atelier, previous partner of Erick van Egeraat. After graduation Daniel spent a few months working in his professors, Zsofia Csomays office. At the moment he is a member of KÖZTI, one of the largest architecture studios in Budapest, and momentarily is engaged with the reconstruction of a historical building complex, a 140 year old “entertainment park” and bazaar at the foot of the Castle Hill, besides doing small scale interior architecture, exhibition and installation design projects."
The border. The threshold. Does it have to be a solid border? Or can it be a porous, even a virtual one? We can invert the purpose of a fence by transforming it into a morphing element that can provide seating spots, even areas dedicated to socialising and mingling. It can keep its primary purpose of setting limits, but these limits need not be violent or disrupting ones. If the visual presence of a fence diminishes, does its purpose do so too? The screen has explored this notion for centuries. Our culture, like many others, has embraced the multipurpose nature of the screen. It sets limits, yet it does not divide; it encloses in a non-invasive manner. The typical Mexican screen is built from rectangular clay panels stacked on top of each other like a pyramidal stack of cards. There are many advantages to this system: it relies on a single component and a single geometry to divide without covering. It transfers vertical loads homogeneously and by forming triangles becomes stable in both longitudinal and transversal directions.We have reinterpreted this system by altering its geometry and thus its screening orientation. With its different configurations this system can become transparent when viewed from a frontal angle or become solid from a frontal angle and transparent from a 30o view. This stacking system can have a small number of variations which makes it more adaptable. Its geometric logics allows it to morph from fence, to seating area, to gate, to beacon.