Because everything changes
fast and nothing may continue as before.
The quasi surrealist Belgian diversity is an outstanding
virtue. Nevertheless, even here, reconsideration
of our personal behaviour is stimulating, otherwise
architects and their clients risk becoming intoxicated
by guilty narcissism,
otherwise, one may believe architecture really belongs
to the architects.
What is it?
architecture and townplanning
possess no other interests or motives to exist than
« outside themselves »
Architecture needs to reconnect
with its context as a generator of causal relationships
with iterative effects or being boring and autistic.
Indeed, during its historic development, from sacred
as it was, architecture became ecclesiastical, then
servile, autonomous, alienated and soon autistic
or merchandised, loosing at each step the unlimited
dimension it possessed at her origin. The separate,
personal work of art was not yet born.
In a practical sense, just
to survive nowadays, architecture cannot present
itself as isolated
it needs to be produced by its context spiritual,
social, cultural, historic, atavic, oniric, banal,
geographical, random, psychological, etc.
The matter to expose
We show no architecture as
such: only processes, active motivations that induce
form. Furthermore, when this nebula of intentions
does co-ordinate itself and mobilises, the modern
organisational techniques may be called to help
as servants, but never as rulers...
Three architects experience
these attitudes, not as narcissistic professionals,
as catalysers instead, witnesses of this relational
practice. Evidently, each one brings his/her friends,
because their borders are porous. We firmly imagine
the contagiousness of such open attitude to encourage
visitors, architects or not, to invite also their
friends. We need to puzzle the boundaries between
architects, fearing that the object should hide
The friends architects
Kinya Maruyama and his friends
of Team ZOO, for his vocation for interpreting the
social and geographical landscape, to the point
of letting “little animals” walk underneath
his buildings, in order for them not having to change
their habits… Louis le Roy, and his stubbornness
for letting gardens grow themselves and helping
them to become « ecocathedrals ». Patrick
Bouchain and his very carefully chosen materials
as vehicles for political belief and intense presence
of people. Jacques Gillet and his patient work:
educational or architectural (it is the same construction).
And finally, « ourselves », as we dig
into these motives and persist to hide behind the
quasi mythical inhabitant
The architectural documents
are shown not to describe objects,
but to express their common motives.