The central characteristic of this spatial fragment is that it is a space understood as being empty, abstract and purely geometric.«At the center of architecture, there seems to be an empty space. You can’t plan emptiness, but you can draw its boundaries, and so empty comes to life». It is for this reason that our attention is almost involuntarily drawn away from the empty space itself and rather towards the objects within it. He undertakes, as it were, foundational scientific research by studying frequencies, volumes, movements and combinations of sounds and their impact on the body, sketching possible spatial figures, such as cubes, corridors, fields, pipes, and exploring the impact of edges of an imaginary space, while the more densely arranged threads towards the middle seem to create surfaces.in its very essence an event of time. Space unfolds in time; it is developed, repeated and transformed in time.structure evolves on the plan of the three squares that constantly changes its appearance on approaching, walking around or through it, creating ever new impressions, Multiplicity of objects is shown only when who is living with them can distinguish their single parts and, at the same time, can see the work in its wholeness. It is necessary to rethink and redefine the term “space”. The boundaries of these spaces cannot be experienced at once, and they are not “dynamic, fluid” spaces in the conventional interpretation. Between multiplicity and silence there’s a tense and vibrational relationship, and the concrete idea is in their equilibrium. architectural elements allow a space to emerge
http://www.archdaily.com/85656/multiplicity-and-memory-talking-about-architecture-with-peter-zumthor/
http://www.archdaily.com/253915/line-surface-space-installation-kawahara-krause-architects/
http://www.archdaily.com/168979/bernhard-leitner-sound-spaces/
OVERALL THEORY: Simple individual elements converge under multiplicity when experienced and create personal spaces that are individual to those specific variables.
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