4-A3.5-12 proposes that human interaction is the catalyst for iconic spaces within the fabric of a city, challenging the post-modern paradigm that solely Hadidian forms and Parametric facades generate iconic design. People and their occupation of a space is what make a place iconic within the fabric of a city. Iconic architecture is not localized to a built edifice, citing urban example projects such as the High-Line or Times square in New York or the Pink Cycleway in Auckland. One could argue that the bucket fountain in Wellingtons Cuba street is equally iconic than the beehive or Patterson’s stainless steel facade will never be able to overtake the Wind Wand on New Plymouth's signs.
The images attempt to capture this - it’s a story of cat walking around after everyone is gone. The project can be understood from renders alone, deeper than visual instead representing how a space is used or inhabited, like a filmmaker capturing dynamic human level scenes vs an artist drawing an all encompassing view. The images represent from how it sounds, smells and feels.
From the curving warm wooden bench in front of a table that holds a miniature of the exhibition downstairs, to he enormous flexible 6 meter space of the gallery, to the heated ground tiles that steam when it rains. The spaces transcend tourist attraction to create spaces that convey ideas past visual to attract more complex visitors. People who want coffee, people seeking a dynamic art collection, a space to sit, a place to transition. Complex and simple to understand, warm and cold, rough and smooth, hard and soft, light and dark. Open and closed.
Hence, the project returns to a phenomenological approach that surpasses the purely visual. This approach to design welcomes occupation of the space via complex contrast of design with overlapping zones of usage. The mission is to foster human interaction and consistent occupation, to maintain a space that is full of life and able evolve within a dynamic city.
