Big pieces of time; obsevatorium Observatorium 010 Publishers (2010) ISBN 978-90-6450-680-2 Prijs € 39,50 288 p. Big pieces of time is a book about three men who form Observatorium. They are all concerned with how someone creates a picture of the world in relation to himself or herself. In twelve chapters they describe and present Observatorium’s philos<strong>op</strong>hy each chapter is illustrated by one project. Large images, pe<strong>op</strong>le’s reactions and impressions of the project support these philos<strong>op</strong>hy in these chapters. This diversity in text and images create a lively book. Together all chapters and pictures create a colourful palette and panorama of Observatorium’s work, passion and ideas about the space we live in. The following citation is in short the outline of these twelve interesting and inspiring chapters. “TIME AND SPACE FOR FOCUSSING ATTENTION Art needs a spectator. Creating time and space for focussing attention means giving, through the work of art, ample time and space to the spectator. The exhibition space takes on the nature of a dwelling, an <strong>op</strong>portunity for meaning to arise in the course of a prolonged, uninterrupted stay. 54 TOPOS / 02 / 2010 OTIUM NEGOTIUM An observatorium is a paradoxical space into which you withdraw in order to determine your relationship to the world. Perception of the surroundings is impossible without a gaze into the inner self. Isolation is a form of participation. LINKING SEPARATE WORLDS Observatorium takes a stand against the fragmentation of the world into separate zones for working, leisure, transport, sh<strong>op</strong>ping, housing, nature and waste. Observatorium rejects the boundaries between the separate worlds, and uses them to make connections. CIVILIZATION IS MAINTENANCE Observatorium makes works of art that are “unnished” and which devel<strong>op</strong> in time. Civilization is similarly not a snapshot in time but a process. Maintenance is part of that devel<strong>op</strong>ment, not of the status quo. THE WORK IS NOT FINISHED UNTIL SOMEONE USES IT Observatorium orchestrates liveliness and provokes pe<strong>op</strong>le to expand or modify their projects and sculptures. The basis for a public sculpture is established by a claim on space. The basis for a lively public space is appr<strong>op</strong>riation by pe<strong>op</strong>le. MAKE USE OF CONFLICT Conict and rancour exist alongside harmony and civilization. Art does not take sides, but worms its way between these <strong>op</strong>posites and makes pr<strong>op</strong>osals for coexistence. Turn antitheses into ostensible antitheses. DESIGN WHAT IS THERE Emptiness and silence are hard to design. When available, Observatorium incorporates these characteristics into design. There are three ways to do it: do nothing, protect them, and make them visible. A SCULPTURE IS IDEALLY THREE THINGS A sculpture is ideally three things: a work of imagination, a reection on the surroundings and a foundation of communality. It is there to be accepted and experienced, it discloses the nature of the context and motivates action. CELLA, COURTYARD, DOMAIN Diversity of space arouses curiosity and creates diversity of use. The succession of cella, courtyard and domain, phases the uid links between inside and outside. Private and public are established in dialogue. THE WORLD, AS TOLD Observatorium makes sculpture for observing the world. It has to be used. The artist can initiate any sort of use which responds to the needs and ideas of the pe<strong>op</strong>le it was made for. If he is the host in his own work, he is able to tell the story of its use and include reections by others in his body of work. STANDSTILL AND MOVEMENT Space for speed is always surrounded by slow space. These spaces are usually separated as much as possible. Observatorium promotes sculpture that links these spaces together and creates <strong>op</strong>portunity for observation. ANTONELLO An “Antonello” in Observatorium’s parlance is an inhabited sculpture. It is an object into which the person has withdrawn to perform a self-imposed task, while remaining observable and possibly <strong>op</strong>en to interruptions. The thin line between public and private is inherent to the observer and spectator.” As students and professionals working with and in space this book could provide another perspective on the way we are approaching space. Observe your observation! Linda Fritschy
Designing with attention to human pr<strong>op</strong>ortion turns the public domain into more than asphalt and walls, which stimulates STREETLIFE! TOPOS / 02 / 2010 55
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