5. At First Glance, I Didn’t Recognize This Restaurant Mural As The Sun
To get his point across, Thorsen highlighted a map of Rome made in 1748 by Giambattista Nolli. It only had two distinctions—what was private and what was public. “Whether it was indoor or outdoor, whether there was a church space or a plaza, it didn’t really matter. [The map] told a different story of the city.”
“There are some examples from today—the roof of our Oslo Opera House is outdoors, for instance, but it’s on the building and publicly accessible. Opening up the Louvre and trying to let people walk through it 24 hours a day—as with the museum’s recent takeover by the artist JR—is another way of not making a distinction between indoor and outdoor public space.”
6. This Fountain That Looks Like A Perfect Place To Sit Down
7. Gas Station In Nebraska. The Station’s Color Scheme Was Red. They Tried To Get Artsy
8. No Broken Legs I Know Of
Thorsen thinks such decisions are essential to the way new architecture typologies develop, and architects should definitely have an influence on them.
“In certain situations, accessibility to indoor public space is enough,” he said. “In other situations, you have to define the program for the particular indoor or outdoor spaces to be adequate. To use the example of the roof of the Opera House in Oslo again, it was basically programmed only for one thing, and that’s to be walked on, for a promenade. But on occasion, it could be reprogrammed to hold an outdoor concert. Or it could be reprogrammed against the original intention by skaters or by a biker who actually drives his motorbike up and down the roof.”