ANTWERP INTERRUPTED
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“…I would say that even in historic times documents are not always available, and buildings (monuments, vernacular constructions and public works) are themselves important texts, often providing the first and most lasting impression of a culture.â€*
  
The voids in the urban landscape, which are created by virtue of the enclosing nature of the surrounding buildings, have great value. These gaps, spaces or holes are important, for it is these that are occupied, that the visitor or resident will visit, pass through or inhabit. The structures that surround these squares contribute to the quality of the environment. Many buildings are deformed to accommodate the purity of the square, however some can exist as pure elements even within a complex system of buildings and voids. Ideal forms can exist as fragments, and can be viewed as mere collaborative elements to be“collaged†into an urban environment, and thus, rather than exist exclusively as landmarks, can contribute to the composition of the city.
In December 2012 Preston City Council voted ‘in principle’ to demolish Preston Bus Station and replace it with a surface car park. This building is a major cultural landmark and it should be preserved and creatively adapted to serve the city. It could act as a key building and public space to make Preston accessible and temper the decay that is affecting our city, and so many other city centres across the UK.
We will explore the nature of the fragment within an historic city, we will bring the Bus Station to Antwerp, it will occupy a definite place within the urban environment, it will:
 INTERRUPT the city
 “The bricoleur is adept at performing a large number of diverse tasks; but, in contrast to the engineer, he does not subordinate each one of them to the acquisition of raw materials and tools conceived and procured for the project: his universe of tools is closed, and the rule of his game is to always make do with ‘what’s available’, that is, a set, finite at each instance, of tools and materials, heterogeneous to the extreme, because the composition of the set is not related to the current project, or, in any case, to any particular project, but is the contingent result of all the occasions that have occurred to renew or enrich the stock, or to maintain it with the remains of previous constructions or destructions.â€#
 *VIA 8 Architecture & Literature, Form, Modernism & History ed. A. von Hoffmann, Harvard 1996 (* quotation from Interactive Realms by Jorge Silvetti). #Lévi-Strauss, C La Pensée Sauvage Librairie Plon, Paris, 1962, ch 1, p 31 [Ref. 59, p 17]
   