The game extends our childhood and allow us to spend time with the kids, to learn from them maximising to the limit our ability. Together with the ingenuity development, the game brings us a magical dimension, an indispensable dimension for creation and it is part of its essence: fate, that breaking of the causual relationships, which reaches unpredictable results in a non-accidental process. Before the forseeability of modern architecture almost all of us recognise in contemporary architecture a complex system of fortuitous hypotheses. In current literature Paul Auster has introduced fate as plot dimension in his works; in The Music of Chance, the game takes real prisoners those who first were competitors, involving the collecting and the representation as ways of the game of life. The artistic avant-garde of last century used fate to develop its pedagogical games; I am thinking of Marcel Duchamp on a ladder dropping three pieces of one-meter long rope over canvases painted in Prussian blue to generate the curves of his templates, “Trois stoppages étalon” (Three standard stoppages, 1913-1914). I also picture him correcting the result of some drafts and trying his luck again, until the “accidental” shape adopted by the ropes was at his convenience. As usually, the architectural project succumbed to the delayed influence of the artistic “game”, the game by the sidelines.
Juan Luis Trillo de LeyvaTECHNICAL DATA DESIGNER: Pedro Romera García, Ángela Ruiz Martínez |Romera y Ruiz Arquitectos S.L.P.| COLLABORATORS: Jorge Hernández y Rocío Narbona Flores |ARCHITECTS|