Offline Room responds to the theme of the studio, “Room with a view”.
Offline Room is an installation that studies an unconnected space and the relationships
that this condition can create with the domestic space.
Today we are absorbed by the devices and our homes and our habits are modificated by the technology. The space-time perception is experienced through artificial mediations (tv, pc or phone have become the windows of the world), but what kind of future is expecting us? in the core of the room we develop a rappresentation of a primordial future through a sensorial deprivation space.
The room conceived as a box in the box consists of 5 spaces with different spatial configurations each associated with a specific device.
-Space of global sharing
-Space of unidirectional
-Space of emotional dilation
-Space of gestural recognition
-Space of sensory deprivation
The most interior space consists of an area around the body that privileges the direct physical and spiritual relationship with oneself, representation of a primordial future in a sensorial deprivation space.
Who influences you graphically?
The main influence of the technical drawings comes from the Atelier Bow Wow. They represent in their graphics everyday life situations, how people live in that moment in that space. Effectively, our intent was to draw the effect of human passage through the human spaces for giving quality to the role of architecture.
The others representations and collages are inspired by Viar Estudio, Point Supreme, Superstudio, Ettore Sottsass, Andrea Branzi, Giulio Paolini
What defined the language of representation of the project?
It is very important to create an image of your project: the vision and the coordination of the works define your results. It was difficult to translate the contemporary scenario to a graphic synthesis but with the idea of personalizing the vision, we arrived at this result.
We want to denounce the present using the filter of blue + pink + technology + human behaviors; as Ugo La Pietra in “La casa telematica”. This kind of atmosphere brings the observer inside the critic/technological mood of the project.
In addition, the clarity of the boxes and their structure contributes to improve our representation language: we are referring to Sou Fujimoto’s idea of modular space and to the context of Archizoom in No stop city.
What role does the colour blue play?
The blue colour is the key element for reading the project. As some marketing experts say, blue is a colour that can create addiction, in fact some social network as Facebook and twitter use the blue gradations for their graphics. For this reason, for us the blue represents the total addiction to the technologies today, that is the focus concept of the project.
Could you talk a bit more of how the design outcome in relation to your thesis? How important were the concept and material concept for the developing of the proposal?
The “box in box” concept is due to the creation of an imaginary path through the rooms that starts with the maximum of the technology and connection available and end without any kind of connection.
Each room is referred to the respective technological device and is a sort of barrier for the technological connections of the previous room. Decreasing of intensity, the smallest box is the core room. The climate in this room reminds to a primate condition, like a cave: the space is totally isolated, without connections and any kind of object, also the light is only natural. The exclusive presence is a person floating in a sensory deprivation water tub. This box is the real synthesis of the project: it expresses our idea of (primitive) future, a future that will delete objects to focus only on the humans.
The concepts show the idea of the project: a sort of thematic shade guide the observer from the core room to the exterior through the devices. The material concept allows us to express directly the direction and the structure of the project: the space is defined only by the use of the users, so by the furniture and the technology.
We map the materials for increasing the concept of boxes and their increment of “materiality”: to the decrease of technology (so with the increase of physical use of our five senses) correspond a more used space (visible by the “warmth” of materials).
What defined the various spaces, what do these specifically respond to? How does the box standardise each one?
Each technological device generates a different spatial disposition for its fruition. For example, the technological device of the second box is the tv. The tv and the sofa with the carpet product a semicircular disposition that suggest a unidirectional sharing space. The others boxes follow the same logic, the first box (from the exterior) express the smartphone space: a global shared place with a multi-punctual diffused structure (this represent the behavior of people meanwhile using smartphones).
The third is radio-focused and express somewhat emotional: the free space is structural linked to a circle, so the physical movements play a fundamental role.
The next box is related only to the gestural recognition, so the space return to a punctiform structure but here is controlled and managed by the gestures of the person. The last box, the sensorial deprivation space, evidence the univocal punctual structure as a focus on the human condition.
What is the role of furniture within these spaces?
The project is based on the concept that the furniture “create” the space. Actually, we can identify what kind of space is only by watching to its furniture (moreover, the number of furniture rises up as we reduce the intensity of technology). The technologies let us to live in an anonymous space, because the only important thing is the display and what’s inside; hence the proposed spaces are created only by objects, things that you can live with the specific technological device.