ln recent years l have become increasingly interested in movements and shifts of territory, specifically landscape experiences more than the apparent fixity of buildings and objects. l have therefore come to consider my work in provisional terms, as speculative constructions that are produced and trnsformed through continual reshaping processes: weather, seasons, light, growrth, erosion, deposition.
If I spend time and energy investigating the traces that exist on a given site, it’s certainly not for any archeological purpose; I have never been particularly interested in reconstructing an historical lineage. Instead, I regard these remainders as manifestations of dynamics generated by different sources, forces, activities, events, and actors. This process never ends, and one ought to appreciate all the possible future developments that are already inscribed in the land, lying latent or fallow. The dynamic mapping of these routes and traces at different periods allows me to understand the shifts and modifications of sites-on-time.
My main interest, however, moves from the trace at one moment -as memorial- to the recognition ofcchanges in time and fuiture potential. Consequenty, I believe that both buildings and designed landscapes must not only make the passing of time visible but also make this passage effecting of further potential.
The architecture that is necessary to mark and make possible such shifts must be more than visual. For me, a haptic, kinesthesic approach to design in essential for any deep form of site appropiation.
Georges Descombes, Parc en Sauvy (1986)