A block of 1200 paper notes designed by Kenjiro Sano to look like a block of wood. A comment on the relationship between wood and paper, not only the block itself, but each individual note of paper is printed to look like wood grain.
Contingent, neither impossible nor necessary; i.e., both possible and non-necessary. “World is neither predictable nor causal anymore as religions or philosophy or science tried to convey through history. World is only probable, it is getting more and more statistically quantifiable.” Uncertain environments in which architecture acts require contingent responses. Contingency determines the potential of architecture. It loads architecture with dormant ways-of-being whose appearance cannot be determined a priori. Contingency forces us to approach the project with the desire of uncovering the systems (structures and dynamics) that give us the possibility of being-different. Contingency is the framework for chance.
Architecture should be able to deploy contingent structures capable of hosting chance and even encourage it. We propose a place as an open field which forces users acting and deciding as it deploys as an unstable system capable of promoting that chance; a system capable of promoting conditioned changes in its structure (gravitational, programmatic or expressive). Objects are inserted in place to keep it in a permanent state of excitement, they become reactive in the presence of other agents in the context. This is the task we assume: creating links and letting new realities emerge through the establishment of these connections. We must allow the blanks to be filled by links between objects instead of filling them with the objects themselves.
The OCA (Office for Contingent Architecture) is responsible for the construction of ductile and temporary communities that keep their environment in a constant state of imbalance. Every precise order that is generated through the OCA is a final order; and it is an order only referred to itself.
Here is the set design created on the backlot of Universal Studios for the 2003 movie, “Down With Love" set in 1963 New York, starring Renee Zellweger and Ewen MacGregor. The set decorator Don Diers, SDSA, says that the greatest aesthetic influence for the film was the 1959 romantic comedy, "Pillow Talk,” starring Doris day & Rock Hudson. - Via