suckerPUNCH: Describe your project.
isaïe BLOCH / ERAGATORY: While the architectonic aesthetic may seem to revolve around a straightforward gimmick, the work is much richer than that. The more you look, the more you realize how many levels it operates on, from its allusions of architectural ruïnification/collapse as in the romantic era to its connections to our current culture of remixes and mash-ups.
The Concert hall balances on a fine line between sculptural architectural objects and functional monuments, between meaning and use and between the beautiful and the horrific. Each successive component of the design layers the pragmatic with an evocative spatial experience obtained by degeneration of architectural primitives in stead of the aggregation of complex freeform geometries, which would lead to very linear repetitive spatial experiences. It reorients the visitor toward a new architectural perspective and circulational/functional logics. A way of entering into the subject of the exclusive high class Vieanese theatre spectator or his opposite looking for a free platform to spread his word.
While this “fictional” concert hall is visually divorced from reality, it gives a sly commentary on the current state of architecture. After leaving this page and stepping back into the build environment, it shocks how much the building across from you, with its cheap-looking touches of faux masonry or abundant technical supplies, starts to evoke similarities with this so called “horrific, dystopian, retro past aesthetic” concert hall.
sP: What or who influenced this project?
iB: Ship dismantling, collapse, Ferropolis, postmodernism, Juliaan Lampens, Filip Dujardin, Robert Gilson, Étienne-Louis Boullée, Gehard Demetz.
sP: Whose work is currently on your radar?
iB: Abhominal, kokkugia, Preston Scott Cohen, former Studio Prix students.