Host
Maria Fernanda Orizaga
The terms ‘host’, ‘guest’, and ‘event’ are the key elements for this semester, and I find them inhe- rently tied to the concept of ‘hospitality’. As I delve deeper into this term, I realize it’s closely associated with the idea of ‘home’. Growing up, we often experienced hospitality in domestic environments during occasions like birthday parties or holiday celebrations. As I delved deeper into the concept of a home, I realised its significance in our society and, most importantly, our souls.
This work delves into the concept of domesticity and its associated objects, while also reflecting in our present. It examines our interactions with these objects and ponders how these relationships might evolve in the future. The project presents an opportunity to nurture affection in a world that seems progressively detached from its environment. By creating my unique approach and perspective on a host, I explore how my site, the gantry, can transition into a space of affection and belonging.
Hospitality
Hospitality is defined as “the friendly and generous reception and entertainment of guests”, but I will also add that hospitality is also defined by time, we create events where this takes place. It is the res- ponsibility of the guest to recognise when it is time to leave and release the host from their obligations. But linguistically and semantically hospitality is an ambiguous term. It originates from its Latin roots – “hospes,” which refers to both host and guest, and “hostis,” which can mean both foreigner and stran- ger, but also enemy (as in hostility).
What does it take to make a house a home? It’s only when we fill a space with our objects and per- sonalize it that it starts to feel like ours. Modern residential architecture often presents as a neutral, empty space ready for occupation. This reflects the cultural phenomenon of customization, where we make things personal by appropriating them. The extent of this customization can range from simply changing the wallpaper to adding an entire floor level, and everything in between.
Through the customisation or personalisation, however we call it, is a way of giving an identity to our space. Author Marwa al-Sabouni discusses two types of accomplishments that shape people’s sense of identity. The first type provides pleasure, whe- ther through beauty or other values. The second type instills pride through continuity and a sense of contribution. Both are tangible in the built envi- ronment, expressed in those details that resonate with the familiarity of home.
Objects
In reflecting on personalization and identity, it’s clear that it’s about more than changing a wall color or floor finish. It’s largely about the objects that share our space. These objects, physical and material, represent our memories and identity. The reality of places like Syria, where ‘homes’ are transported in plastic bags or on bicycles, underscores the value of our objects and the history they embody for us.
Juhani Pallasmaa argues that, despite the tech- nological base of our civilization, humans persist in asserting their bodily existence. During an era where success was largely defined by property and possessions, we grappled with rampant consume- rism. We often followed trends and purchased items that quickly depreciated in value. This was particularly criticised on trends like ‘minimalism’, that gained popularity back in 2015, emphasised by Netflix’s documentary, which promotes living with only the objects that bring true meaning to our lives. However, I’ve observed recent social media trends deviating from this lifestyle, potentially influenced by the pandemic. We are now placing significant importance on our possessions and tangible items. In an uncertain future, we find a certain grade of nostalgia for our objects.
This is where the importance of objects becomes increasingly apparent. It is through these tangi- ble items that we connect to the world, not just through images. We need to touch, smell, and listen to the objects that surround us. They have the power to evoke our deepest memories and create atmospheres that transport us to different moments in time. As Pether Zumthor suggests, “Everything comes from somewhere, even the small shelves in the kitchen evoke familiarity.”
Exploration
Upon exploring the value of objects, I plan to summarize concepts from previous chapters and relate them to this semester’s theme: host, guest, and event. Moreover, I will create a timetable to illustrate the value system we were raised with, prompting us to question its relevance for the future. This could seem idealistic but allowing room to question these ideas is the first step towards recognizing the need for change.
We’ve grown up in a culture of consumerism, where the value1 of objects often changes so rapidly that it’s hard to keep up with trends. But what about the future? Will this change? I’d like to think that due to climate change, we will alter our consumption habits and attitudes towards objects, particularly new ones.
Maybe the industry won’t change but as a society we would start questioning if a new one is better than the old. I created different mental maps to illustrate the history or understanding of our value system and also questioning the live of the objects from my understanding with my research.
Event
The concept of object exhibition has persisted throughout history, from cabinets of curiosities to modern museums. These spaces have consistently served as preservers of not just ancient artifacts, but also items of popular culture from recent centuries. Notable recent examples include the Museum Der Dinke in Berlin and Archivo Diseño y Arquitectura in Mexico City. However, the novelty of this project lies not in the mere exhibition of objects, but in encouraging interaction with them. The project’s focus is on the concept of ‘domestic identity’, exploring how individuals relate to their surroundings and their personal interpretation of ‘home’.
Participants, who vary each year in number, background, and age, are provided with a selection of objects. They are then tasked with arranging these items in a manner that best represents their personal interpretation of ‘home’. The assortment of objects varies each year, however, the layout is only altered twice annually, contingent upon group participation. The range of objects can include anything from furniture and lighting fixtures to decorative items. The only stipulation is that they should align with the theme of domesticity. These objects could be donations from the public or selected pieces borrowed from other places.
The space required significant modifications to make it habitable:
- Accessibility: In its current state, the Gantry is inaccessible. There’s no established path from the street to the Gantry, and it lacks stairs to reach the upper part as it was not originally designed for human habitation.
- Materiality: The Gantry’s original structure, comprised solely of concrete and perforated panels, was unsuitable for an exhibition space. Issues such as ventilation, temperature regulation, and noise control had to be addressed.
- Space: The shape of the concrete blocks made the space difficult to inhabit.
The concept of ‘home’ has recently taken on a profoundly deep meaning for me, especially in the wake of my move to Glasgow. The journey across the world, away from familiar surroundings, was a daunting prospect. As I packed my life into two suitcases, I was confronted with the challenge of defining what ‘home’ truly represented for me. It was a challenge to conceive a project that would effectively communicate the emotive aspect of ‘home’ or as Mauro Gil says “an architecture of care for life in all its manifestations and scales”. For the same reason, I believe that our homes inhabit us and not the other way around, maybe that’s why we use the phrase “I feel at home” when we refer to a feeling or even to some people in our lives. I believe that ‘home’ transcends the physical confines of a space or an assembly of objects, and exists as a part of our subconscious.
Ultimately, I see the Gantry as a bridge that reflects a connection, which is the intention of this project. To connect users and participants with objects in a different way, to create an environment conducive to both learning and introspection. The creation of these spaces can also be made from within, for which I hope not only to speculate about the many possibilities of this space and its impact on others, but also encouraging you, the reader, to contemplate your own concept of home and its associated objects.
