suckerPUNCH: Describe your project.
dave EDWARDS: For Mircea Eliade “The distinction between the sacred and the profane is that of a boundary or threshold. a boundary between the ordinary mundane and confused versus the security and sense of being that comes only via accessibility to the sacred.”
The work centers on the notion of these two dialectic states, of the transition between the profane and the sacred. Initial studies began with a study into Dante’s Divine Comedy as a physical construction of the threshold between sacred spaces of Paradise and the Profane Inferno.
This book has acted as a metaphor and its significance in ordering a series of architectural notions: The Journey, Reflection on ones experience of space, and the progression through a series of shifting open ended thresholds. The final major project is sited in Los Angeles, conceptually reflected on as both Inferno and Paradise in equal measure. This city forms a backdrop to investigations into the PROFANE.
Looking towards contemporaneous and potential future scenarios reflecting on the city as has been seen, viewed and projected visages of its future. Proposing a new civic building on the Bunker Hill site in Downtown, the project plays with notions of how one reads both the building and the city and how the civic building becomes signifier and sign to aid ones (re) understanding of the city. All investigations have at their centre a concern with an architecture of perception not of the constructed object but the lived space, The inhabitants use a choreographed procession their semiotic readings variable. In this mode the manipulation of light and material /acoustic and atmosphere, are key. Manipulating this performance is a series of scripts; Digital and analogue with the Sacred purity of Generative techniques at all times being corrupted by the Profane interference of design intuition and contextual response.
sP: What or who influenced this project?
dE: The project was heavily influenced with the writings of Reyner Banham and the Case Study houses of the late 1950s in Los Angeles, not to mention the urban landscape of L.A. itself—the beaches, the foothills, and the freeways. Mike Davis’s City of Quartz and Henri Lefebrve also informed the thinking behind the programming the building.
sP: What were you reading/listening to/watching while developing this project?
dE: Reading: Reyner Banham, Mike Davis, and Jane Jacobs; listening: Coldplay, Sigor Ros, Lady Gaga; watching: Reservoir Dogs, Falling Down and Collateral.
sP: Whose work is currently on your radar?
dE: HdM, Tom Wiscombe, Hernan Diaz Alonso, Morphosis, Marcos and Marjan, and Roland Snooks.
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