"It is the sensation of something forgotten, once very strong and determined with its clear euclidean geometry. It is so visible to the eye, yet it seems invisible in its existence - out of function, out of use; only a trace of history - a cultural layer imposed in the landscape
I confront the silos with my body, sensing the size of massive concrete walls and the soaring height of the structures. They exist through my embodied experience."
I confront the silos with my body, sensing the size of massive concrete walls and the soaring height of the structures. They exist through my embodied experience."
The atmospheric Journey
The approach should include the atmospheres at the site. Just south of the site is the New Little Belt Bridge with its hypnotic humming sound being transported through the heavy concrete and into the space underneath it. East of the site we have a strong connection to the dock where the local fishermen patiently wait for their catch. North of the site a small forest is blurring the insight to the old ammonium plant, and a narrow beach is stretching from south to north - connecting the atmospheric spaces. ‘The path of our movement (in this case along the beach) can be conceived as the perceptual thread that links the spaces of a building, or any series of interior or exterior spaces, together. Since we move in Time, through a Sequence of Spaces, we experience spaces in relation to where we come from and where we go or anticipate going’.
Sometimes the transition from one space to another is seamless, other times we can give a small hint of what is coming and then experience it in its fullness. Another option is to challenge the expectations of the observer by creating unexpected spaces - spaces that have completely changed condition and character.
«If we approach Garnier’s Opera in Paris along the Avenue of the Opera we are led through a sequence of existential shifts where our part in the larger construction is adjusted in a balance between manipulation and complicity. The parts of this sequence work on us so that when we reach the performance we have a good chance of being in a suitable frame of mind to absorb the terms of the performance.»
Chard, Nad
The act of walking becomes a journey of seductions, hints, invitations, shifts and transitions through a series of different spatial experiences before arriving at the final stage.
