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Never Never Land

 Going back to the basic ideas of the project, it began with the reading neither site or program. More directly... the first notion of incorporating "familiar & fantastic" came from an understanding of the
youthfully playful character of Cristina and Konstantinos."The fantastic" is strongly associated to its romantic literary genre (18th & 19th Century)making the entire concept seem anachronistic and fancyful - without relevance to contemporary architectural practice and discourse. However, few concepts expose the very distinct conflict of "representation of the natural world through the reality consensus". One of the
functions of the "fantastic genre" is to expose the limitations of positivist reason, underscores subjectivity and difference, allow figures of desire to take form, grapple with paradoxical structures to trigger new thoughts and consider readings from different perspectives.

"We recognize the footprint on the shore as our own. There are no phantoms, no succ??, no weeping fountains. There are only men, and the creator of the fantastic announces that he identifies
himself with the fantastic object, for contemporary man, the fantastic is only one of a hundred ways of mirroring his own image"


Sartre, "Aminadab or the Fantastic as a language"


The clear linearity of the site points to an inevitable sequential organization of the program along the given buildable strip. However, preceding any formal or stylistic reflexes, it gives an opportunity to understand and present the home as a place of “choreographed” lived spaces and events. The choreography is drawn on both a planar and a sectional scale that represent the site, icons represent public/private individual/collective activities. These icons are ordered along the scale to generate and suggest possible sequences and cycles of
everyday life. Included are icons of basic and standard needs, such as eating or sleeping, but also included are icons that reflect a playful attitude to life, such as dancing and climbing. This exploration will point to ways of relating a full collection of activities and will result in a map of “NNL2”, a place which will weave playfulness
and fantasy together with the familiar activities and routines of every-day family life.

The incorporation of "familiar & fantastic" came from an understanding of the youthfully playful character of the clients, a dancer and a photographer. The home is understood as a place of “choreographed” lived spaces and events. The choreography is drawn on both a plan and a section, icons represent public/private individual/collective activities. These icons are ordered along the scale to generate and suggest possible sequences and cycles of everyday life. Included are icons of basic and standard needs but also included are icons that reflect a playful attitude to life. This exploration points to ways of relating a full collection of activities and results in a place which will weave playfulness and fantasy together with the familiar activities and routines of every-day family life.