Thomas Sériès

THE SKY IS THE LIMIT
National Museum at Vestbanen
I THOUGHT I LOVED YOU BUT IT WAS JUST HOW YOU LOOKED IN THE LIGHT.
IT PRETTY MUCH DESCRIBES THE EMOTION OF ONE ELUSIVE MOMENT.


To start with there is this persistent happy memory when visiting the MOMA in NY and coming across Smithson’s work Non-Site. What was it? Combining uneven materials with the sleek, industrial mirror. Using the mirror as both physical, tangible, and as a reflection. The mirror as a concept and abstraction and, as R.S. puts it himself, the mirror as a fact within the mirror of the concept. Unmistakably the mirror engages perception of space and time in a surprising way. Continually changing with the surrounding changes, integrated at the same time disintegrated. So there we are aiming to make some kind of architecture: bold and striking in the city yet with a disappearing and shifting catch.
A building uncertainly rooted in its environment. And at the same time an architecture sensitive enough to be magnified by its surrounding elements. At some magical instant, when the light, the snow, the fog, combine beautifully. The perfect sight is not predetermined.
The building merely offers some changing surfaces and reflections to be caught and contemplated. Like that line: I thought I loved you but it was just how you looked in the light. It pretty much describes the emotion of one elusive moment. The NMAAD is designed after that experience. A sculptural premise which produces the effect of architecture in a state of uncertainty and magical excitement.

A simple, massive, compacted form.
The base, up from the ground to just a little above the surrounding roofi ng-line, spreads to the edges of the plot, leaving the center empty and revealing the core (bearing and distributing the building). The core, like a mirror stand, reflects the surrounding skyline.
At the junction, when the white block emerges, an irregular zone blurs the connection and fogs the perception. The chaotic zone, made of uneven texture, is perceived in the refl ection as the inverted texture of the city. The white block emerges from a cloudy zone with an uncertain foundation. The contact to the ground is loose. The paradox occurs that the seemingly massive volume rises in the sky.
Now lets hold it back to the ground and have him fl oat in an in-between level.
The building rises to an in-between level, it floats above the basement, kept from flying away buy elementary strings. The sky is the limit!
"Il peut venir à l'esprit du designer de faire un design qui puisse libérer autour de lui des énergies créatives, suggérer des possibilités,
ouvrir des consciences, ramener les pieds sur la planète, prendre des mesures, trouver des références..."

"IT MAY COME TO MIND TO THE DESIGNER TO MAKE A DESIGN THAT CAN RELEASE AROUND HIM CREATIVE ENERGIES, SUGGEST POSSIBILITIES, OPEN MINDS, TAKE ACTION, FIND REFERENCES..."
Ettore Sottsass