Future

Roman Polanski <Cul-de-sac> , 3XN <Den Blå Planet>

Roman Polanski, Cul-de-sac, UK, Art Theatre Guild, 1966 ©Art Theatre Guild

When I watch movies, there are many things I don't understand. When faced with a tragic crisis, why do the characters throw themselves into a hole instead of solving the problem? The term "cul-de-sac," meaning "dead end," is an architectural term that refers to a place at the end of a street. In the movie Cul-de-sac, the castle is in such a cul-de-sac, with no way out except to retrace the way they came. It is also surrounded by the tides, further isolating the space. This setting emphasizes the story that the characters do not talk about the future; they simply wait for something. In the face of tragedy, when the characters realized that what they were waiting for would not come, the protagonist could not leave the castle, even though his wife suggested that they escape together. Instead, he stayed trapped on the island, sitting on the rock slowly sinking into the water as he cried endlessly.

3XN, Den Blå Planet, Copenhagen (Denmark), 2013 ©3XN

When I look at Danish architecture, especially the work of 3xn, my next steps become clear. The shapes of their buildings show different proportions and create a new sense of balance. Their designs respond to site conditions, functionality, and materials, and guide me in what I need to study next. Beyond understanding form and design, I must also study societal needs and learn how to effectively market my work. But if I am tasked with transforming a space, do I have the will to create a truly good environment? Can the pursuit of artistic depth coexist with the desire for a fulfilling life? If someone asked me to design my ideal home, I wouldn't know what makes a space ideal for living.

Cul-de-sac 111’ 5”

I am in a cul-de-sac, with no way forward and only the past behind me. I keep sobbing, unable to choose an escape.

“You must make decisions,” Major Danby disagreed. “A person can’t live like a vegetable.”

“Why not?”

A distant warm look entered Major Danby’s eyes. “It must be nice to live like a vegetable,” he conceded wistfully.

“It’s lousy,” answered Yossarian.

“No, it must be very pleasant to be free from all this doubt and pressure.” Insisted Major Danby. “I think I’d like to live like a vegetable and make no important decisions.”

“What kind of vegetable, Danby?”

“A cucumber or a carrot.”

“What kind of cucumber? A good one or a bad one?”

“Oh, a good one, of course.”

“They’d cut you off in your prime and slice you up for a salad.”

Major Danby’s face fell. “A poor one, then”

“They’d let you rot and use you for fertilizer to help the good ones grow.”

“I guess I don’t want to live like a vegetable, then.” Said major Danby with a smile of sad resignation.” ¹

1) Joseph Heller, Catch-22, United States, Simon & Schuster, 1961