What distinguishes an armchair from a mere chair is the support it provides for our arms. (Duh!) Yet we all recognise the occasions when these armrests have been redeployed as chairs themselves. When armrests become posterior perches for Instagramming. An armchair is frequently that seat of convenience when all other chairs have been taken. At such times the armchair for one transcends into an armsofa for three…
Given this scenario, WHAT_architecture proposes the armMmchairsofa™
The armmMmmchair™ is an armchair with exaggerated arms to accommodate all your family, most of your mates and enough ladeez to constitute a fantasy harem. For greater domestic versatility, the armMmchairsofa™ comes in various sizes:
It is up to you, the buyer / ‘perchchaser’, to balance your social relations so that the armMmchairsofa™ does not topple! The Unfolding armMmchairsofa™ version can be compacted should you find yourself at home alone (again!) or over-estimate your own popularity. The armMmchairsofa™ by Tacchini deploys 3M Materials technology for non-flammable, durable and high visibility décor-ware….mmm!
It’s Modern, it’s Classic, it’s basically a crazy kind of Massic. Something old, something new… as a fenestration strategy, Massic offers something for the (w)hole family. Blablablarchitecture LLP is participating not only in the digital but also in the physical world; with our partner Mark Stephenson (Wall or Space) we are looking for real-world / real-time outputs: in Shoreditch!
blablablarchitecture is talking buildings. In Soundbite 1, we listen to the strange language of architects talking architecture.
As Ike Ijeh reported in BD, the insular language architects deploy is utterly unintelligible to the uninitiated layperson and even to the fellow professionals. This issue appears to be widespread among the avant-garde and within academic echelons. Ijeh cites that with the fall of modernism, architecture lost the rather prosaic discourse say evident in Le Corbusier’s Vers Une Architecture. The supplanting of the singular grand narrative of modernism with the multiplicit textural layers of post-modernisms created a context of divergent discourse, which at its worse became a pseudo-intellectualism of misappropriated literary reference. Peter Eisenman’s wholesale appropriation of the work of Jacque’s Derrida as a means to legitimise his own projects comes to mind. The result was a culture of aesthetic complexity: opaque prose accompanied by hieroglyphic representational systems to lend integrity to ideas that had been discredited in the real world.
On the other Zaha Hadid’s straight-talking response to the BBC’s Sarah Montague provides an aural counterpoint: https://soundcloud.com/spectator1828/dame-zaha-hadid-walks-out-of
blablablarchitecture is talking buildings. In Soundbite 2, we listen to the general public talking about a building.
Joe Public talking building is the polar opposite of ‘arch speak': it is plain english casual conversations about architecture but not by architects. As part of the planning application for 127sho_Shoreditch Station, WHAT_archirecture sent Victor Wu out onto the streets of Shoreditch to ask and record the public. We wanted to formally test the Conservation perception that the existing modest single storey brick building was identifiably a railway station. Talkback ‘soundings’ is thus a valid form of public consultation/
blablablarchitecture is talking buildings. In Soundbite 3, we learn about talking to a building.
Maori architecture offers European architecture a unique perspective. In maori culture the whare whakairo, the carved meeting house, as per 072hin_Hinemihi, transcends the European construct of representation in the sense that it is not, as Michael Linzey has written, “like an ancestor, it is the ancestor”. The whare whakairo being the ancestor, means it has a gender: Hinemihi is a woman. The whare whakairo is spoken to and the Maori comportment of ‘speaking to architecture’ is “alien to European-educated ways of thinking. Europeans are permitted to speak to one another, but may only talk about architecture. The respective linguistic comportments, ‘speaking to’ and ‘talking about’ are distinctly different ways of seeing and understanding architecture.” Furthermore Linzey states that Europeans dare not to speak to objects, such as buildings, for the fear of looking, like Dr Doolittle who spoke to the animals, of completely ridiculous…