THE FUNDAMENTAL GROUP is a collective making mathematically inspired architecture, furniture and artefacts. We are motivated by a passionate belief that objects trancend the physical, that they reflect rules of geometry and space, and that they engage the mind. We play with scale and repetition to draw out the abstract qualities of well loved materials such as oak, and explore the possibilities of new materials like polystyrene and expanded steel mesh. At THE FUNDAMENTAL GROUP there are things we believe and principles we hold dear.
These drive our output. Everything we make is an epistle.
Now go ahaed and read our manifesto.
LOVE PATTERNS AS THEY LIVE & GROW IN THE MIND
Children look at things for a very long time, One never forgets the curtains in the playroom or the pattern on the tiles on the floor at church. Seeing part of a pattern one begins to subconsciously grasp the rules that lead to the arrangement of the whole. The pattern develops in the mind, growing beyond the unique. When information is arranged into a pattern, it opens up the source of its logic, allows the observer to plug in, gives access to the rules, and invites development beyond the static. It is through processes like these that we lean in close to nature, which is nothing if not a clamorous a symphony of growth patterns.
PARDON YOUR MISTAKES FREELY
Do not attempt to overcome your animal instincts. When we shelter, we are building a nest. It is a sort of bricolage, you gather things that provide comfort, convenience, and that have a sentimental value. Things from your childhood, those teraccotta tiles that trigger memories of your first independent thoughts, are part of that. Accidents of personal history a very important. When it comes to giving form to the world around us, it is important to honour your mistakes. True beauty is when you can forever complete the incomplete, for yourself.
Curate your mistakes, be proud of them, and arrange them for maximum effect.
If you have a wooden leg, wave it.
HEAVENLY ORDER ESCAPES EARTHLY FORCE
Minimalists would have you believe that order is an absence of clutter. This is not the whole truth, it’s more like giving up half way. Order is a word that has very many meanings. When we design, we order elements. This means giving each element a role in a hierarchy, exploring and defining the relationship of the parts to each other and to the whole. Beauty is attained when the relationship of the parts to the whole is in harmony, but beauty without force is a bore. There is a theory that the nearness of chaos, but it’s avoidance, gives force. We subscribe to this, and we also propose the inverse - that it is the nearness to order, but
it’s avoidance, that gives beauty.
HAPPINESS IS THE LONGING FOR REPITITION
Learning and growth occur in repetition. It is beacuse repetition is sometimes mindless that it is valuable. Every time you read a sonnet or play a sonata it is different. Small flaws occur which can change everything. When we compose our pieces, we are driven by rules. But it is important to pull back from a total expression of those rules. We believe that it is the role of the beholder to draw the principles of a piece to her own conclusion. While care is taken
to balance elements, and we usually come very close to symmetry in our work, we leave room for active engagement, rewriting the ending, allowing for the integration of personal narratives. A valuable posession is more interesting the thousandth time you look at it than on the day you bought it.
HEAL AND TRANSFORM
You haven’t really owned anything until you have fixed it. Trans-form: Beyond the form. This does not mean change in the binary sense, left rather than right, but it means going beyond. The attainment of perfection, were it possible, would be a sort of death.
We seek perfection, we are driven to excel, but it is the process through which perfection
is sought that ennobles us and elevates our state.
Escape the cycle of tiredness, ennui and dissillusion by embarking on a life long transformation.
A T L A S & F R I E N D S
Here’s a theory: The more money and effort goes into a home, the less of a home it becomes. Think of the grandest house you know - I’ll bet good money that the people who live in it spend most of their time in the basement, or the kitchen or a pool house. This isn’t just another homespun elegy about how money won’t really make you happy. This is about how all of us, rich and not so rich, get sidelined when we engage in the project of mastering our own space.
Architectural history is full of houses which have failed. In fact, it seems to be comprised almost entirely of houses only fleetingly inhabited by the men who built them, houses which proved unliveable. Time and again, good men spent a large part of their lives and fortunes erecting architecture which immortalised them yet seemed unable to make them happy. Vast, overscaled spaces, acres of hard gloss surface cribbed from churches and public buildings, filled with impractical, uncomfortable furniture. The house 'Mandalay' in Hictchcock & Du Maurier's classic movie Rebecca is a perfect example of a grand, beautiful, unlivable house, a suffocating dream. It is such a catharsis to watch the structure burn that Hitchcock chose to start and end the film with this image.
It is not only newly-rich resource barons and captains of industry who fall into the trap of commissioning buildings which are more of a statement than a home. One of the most touching victims of this pitfall was Edith Farnsworth, a genteel and established Chicago doctor who commissioned one the most perfect but un-liveable houses in history. (See Farnsworth house, inset) At least houses like the Farnsworth house are remembered for their beauty, power and influence, even if they failed to make effective homes. Far worse are the houses which try too hard to impress, and are therefore too neurotic to provide comfort and shelter.
There is a fundamental incompatibility between the desire to communicate through a built work and the basic, sound requirements of a home. Of all the desires and abstractions of the human psyche, the strongest is the home. Home is refuge and shelter, a safe space in which to receive friends, associates and loved ones. Partly because of that, however, the sacred shelter is also used as a weapon in the status race, and we use our homes to project ourselves onto the world.
Do we feather our nests as a reflection of our best selves? Or are we building our homes for idealised guests, for imagined interiors photoshoots and ‘Celebrity Come Dine With Me’. Think about it - most aspirational kitchens are built to resemble the studio kitchens of celebrity TV chefs optimised for an imaginary camera and not the love of food. This is no way to dream.
This is a recent development in Germany and the West. Let’s look back 30 years and remember two rooms since left behind: the Partykeller and the Hobbyraum.
What is the point of a partykeller? It suggests a fundamental reluctance to have guests in your living room, and not wanting to have visitors in the best room in the house is an interesting position. It could mean you don’t like to have guests in your sanctum sanctorum, suggesting that you don’t like guests but do like your living room. Conversely, it means that you are afraid of what your guests might think of the artefacts and signs of family life in your living room, suggesting that while you may enjoy company, you do not like your living room.
American houses of the same period invert the paradox with a den, a cosy living room not intended for entertaining, to which the family retreats from the showy and probably rather uncomfortable interior set-piece reception areas.
The Fundamental Group Hobbyraum
However, of all of the lost spaces of postwar domestic architecture, the Hobbyraum is probably the purest. It calls to mind H. D. Thoreau’s famous retreat at Walden or Heidegger’s Hütte, in Heidegger’s words:
"... Ich werde einfach in die Eigenschwingung der Arbeit versetzt und bin ihres verborgenen Gesetzes … nicht mächtig"
The Hobbyraum is a glorious space, a space concieved entirely for the therapy of its master. Unfortunately the days when it was socially acceptable to have a simple hobby have faded like so many seventies family photos. Now we are presumed fulfilled by our work so we have passions, not hobbies, and those passions need validation in a perfect storm of socially-networked blogs. Gone is the private space where one could be with one’s artifacts, and assemble them in accordance with some sacred internally regulated period of grace.
This is how to avoid the glittering trap that society, and possibly your architect, will set for you. No home grown out of a hobby will turn against you like so many glittering marble halls, but it might grow with you, like a snail’s shell, an outward manifestation of a true aspiration, an honest fascination. An admirable, impressive and fundamentally habitable house will be a byproduct of some other, nobler and more personal motivation.
U N E N U I T S A N S O P E R A
Project description: Podium for performance of a reinterpretation of Rameau's Pygmalion,
made with wax, ice and acrylic, based around a fractal cube composition.
The ice melted during the performances, leaving veins of water on the waxy
and clear surfaces, playing on the living qualities of material in the
Client: Une Nuit Sans Opera 2010
Completion: July 2010
Completion: July 2010