A Building's Memory
2018 - ongoing
Research project
In my still ongoing, project A Building’s Memory, I am researching the memory of houses and cities, and the way that architecture is being build-up and how it eventually will wear off again. Thereby looking at how one place can have several memories, of all the different houses and buildings that once stood there.
In A Building’s Memory, I am researching the way in which the urban landscape is in a constant state of transition, focussing mostly on areas where houses are being built-up or where architecture is ‘eroding’ and buildings are being demolished. By processes of urban renewal, renovation and gentrification, buildings have to make room for others, or they transform function.
Therefore, I am asking myself questions such as: What does a house remember? What is the memory of a street or a neighborhood, and how does that form the memory of a city as a whole? And why do we choose to keep one building and demolish the other? And can I make these no longer visible or invisible processes physical and tangible as a visual artist? With the eroding of our houses, our ideals about how these spaces should look like are shifting as well.
Not only am I trying to investigate this fluidity of a building and processes of transition in cities, but also I am exploring the boundaries of architecture, sculpture, photography, and video, by working at the intersection of these different media. In this multidisciplinary research of A Building’s Memory, scale models are fulfilling a central role. Building scale models is a way to literally get a grip on urban space around us, the buildings that yet have to be realized, but also as a way to bring back the buildings from the past.
2018 - ongoing
Research project
In my still ongoing, project A Building’s Memory, I am researching the memory of houses and cities, and the way that architecture is being build-up and how it eventually will wear off again. Thereby looking at how one place can have several memories, of all the different houses and buildings that once stood there.
In A Building’s Memory, I am researching the way in which the urban landscape is in a constant state of transition, focussing mostly on areas where houses are being built-up or where architecture is ‘eroding’ and buildings are being demolished. By processes of urban renewal, renovation and gentrification, buildings have to make room for others, or they transform function.
Therefore, I am asking myself questions such as: What does a house remember? What is the memory of a street or a neighborhood, and how does that form the memory of a city as a whole? And why do we choose to keep one building and demolish the other? And can I make these no longer visible or invisible processes physical and tangible as a visual artist? With the eroding of our houses, our ideals about how these spaces should look like are shifting as well.
Not only am I trying to investigate this fluidity of a building and processes of transition in cities, but also I am exploring the boundaries of architecture, sculpture, photography, and video, by working at the intersection of these different media. In this multidisciplinary research of A Building’s Memory, scale models are fulfilling a central role. Building scale models is a way to literally get a grip on urban space around us, the buildings that yet have to be realized, but also as a way to bring back the buildings from the past.
A Building’s Memory contains the following works:
The Succession (2018), The Tower’s Memory (2017), Tiny Tumbling Towers (2018), Shallow Sculpture (2018), Penumbra (2019), Fallen Ornament (2019), The Succession (2019)
