In the name of patrimony and memory, traditional forms are opposed to change and architecture’s appetite for modernity. But patrimony means memory or at least support of memorisation, and architecture has and is a memory. A memory that is captured and transmitted as information from the object themselves.
The memory that this projects tries to decode is located in the traditional cretan house. We are sampling 9 objects and features off a typical expanded wide-front house with an arc. The sample is based on the objects’ role on the house and everyday life.
Following a rule of abstraction, borrowed from object-oriented programming and geometrical analysis, the form of these 9 object is being translated into «state» -what they look like – and «behaviour» – what they do, and tries to decode the information they enclose. Based on this analysis, through spatial experimentation, immaterial spacial qualities occur.

Vilem Flusser, in his book «The Shape of Things», claims that creating an object, is to force form to a material. As the material is in-forming, the form is also being deformed. The sight of an object is simply a transitional state of the matter. Form is the dominant and unfathomable characteristic. Form is true, material is obvious.
Forms are neither discoveries nor inventions, neither Platonic Ideas nor fictions, but containers cobbled together for phenomena (‘models’). If form is the ‘How’ of matter, and ‘matter’ the ‘What’ of form, then design is one of the methods of giving form to matter and making it appear as it does and not like something else.

Forms are eternal, free of all time and space. If we start freeing the object from the material the result would be immaterial, transparent reflection of the examined object. Through that transparency, its forming process is becoming identifiable. Their mediated, inter-subjective side is visible. The examined forms are consisted of emerging information awaiting decoding.

Following a rule of abstraction, borrowed from object-oriented programming and geometrical analysis, the form of these 9 object is being translated into «state» -what they look like – and «behaviour» – what they do, and tries to decode the information they enclose. Based on this analysis, through spatial experimentation, immaterial spacial qualities occur.

In consideration of making these immaterial forms in a spatial context, they are applied in the building of the 5th Army Division Building in Chania, in an attempt to integrate the past, preset and future of the vernacular architecture to a solid and unified state.

«The past is never there waiting to be discovered, but to be recognized for exactly what it is.»

John Berger, Ways of Seeing