I like to look at my chosen site as a painting next to a sketch. The housing estate painted by Gino Valle and an industrial area sketched by many different industries. The two of them are separated by a fence. The housing estate painted by Gino Valle includes 94 dwellings that all directly adjoin public space and offer a view over the lagoon. The industrial area is a sketch that has been sketched on many times. The first sketch seems to be a cement factory built around 1917. The next one a wheelbarrow factory, and wood deposit. Finally the buildings were abandoned and the industrial activity on site came to an end. Human activity has been absent and nature has started to inhabit the place - sketching a new layer on top of the industrial remains.
I like to look at my chosen site as two communities. One inhabited by nature and one by humans, one by industrial buildings and one by a housing estate. They are both a body of people or things viewed collectively. The project consists of three acts. Removing the fence separating the two communities, and adding two structures. The two structures both adapt to their individual community while at the same time having their own personal character. The structure of the painting adapts to its community. It has the same geometry, height and width. While it adapts, it also shows its uniqueness by being more porous than the others in its community, mediating the two communities as it sits on the edge of the painting. The structure of the sketch also adapts to its community by bringing its industrial heritage alongside the free growth of nature. It adapts to the geometry of the two cranes but is wilder than its fellow citizens. It grows out of the main building and spreads out just like the nature that will grow uncontrolled on to the structure and on the rest of the citizens of the sketch. The structure enhances the intelligence of nature and also how it grows and withers.
The painting and the sketch next to each other affect the experience or the reading of each space individually. The sketches in our soundings are necessary in the meeting of paintings in order to have space to reflect upon the different qualities that is embedded in both.
Teachers Matthew Anderson and Lisbeth Funck