Our projects are the result of contextual work. The place always stands in the centre of architecture. The cities with their compact centres, the technical landscapes along the motorways and their settlements, which mark the outskirts of a town, resemble each other everywhere. Therefore we concentrate more on the specifics of a place, on the singularity of a place, and its various and different characteristics we try to work with again and again. The interpretation of a place’s history interests us. We do not wish ourselves to have an accumulation of solitudes. Concisely built forms step in with others old or new into dialogue. What is added to a place should always insert itself into the existing, harmoniously or contrasting, to create a new “tension”.
The past lies hidden even in our present society. We are conscious of the fact that careful intervention in a place could make it “readable” again. The language in which we maintain this dialogue is that of a space and its proper spatial effects. It finds its expression in slight angle changes, calculated proximities, and conscious distances. The place does not characterize itself, however, alone from curves and disappearing facades. The materiality, substantiality, and colourfulness of a place lends the perceptible strength of its atmosphere.
Empirical exploration of the substance in architectural language interests us. We thereby look, however, for an expression of variety, density, forcefulness and inexplicability, and never for a simple representation of “minimalism”. In minimalism, variety of form shows only in certain quantities, which must extract itself from an indiscriminate and arbitrary thoughtlessness. Influenced by the super ordinate principle of minimalism, this variety of form, in its morphology, is to be described as more than just deformation or modification. Such kinds of form relationships are impressively reconstructed in the photography collection of Karl Blossfeld. Rows of pictures of buds and leaves show the constant repetition of the same growth sequence, which by climactic shift and changing ground condition, is subject to change, but does not, however, change the base of its composition. The rule is timeless; the result is an expression of the surrounding environment. This creative plan of nature is comparable to the paradigm of what embodies design, which deeply interests us.
As these pictures reveal, there exists strength in the restriction of means. Elementary thinking, associated with an elementary handling of things, allows us to work with and make evident their specific characteristics and the actual nature behind their surface. It is not about the loose joining of individual elementary parts, but rather the form that emerges by the reduction of the entirety into a closed whole. In some, the form variety shows up in its coherence In others, it remains alone, thereby granting that things are multiform in their nature. Feature variety lies in things themselves and in their different order possibilities. The assigned means are reduced, and the manifestations differentiated.