People’s dreams about how they want to live their lives, how they pursue inspiration and education, and how they work are constantly changing and evolving. Innovations in the way we think and act often arise because we are invited to inhabit spaces that are generous and offer opportunities for the unexpected to occur.
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TheeAe is abbreviation of the evolved architectural eclectic.
Its name is about the effort and dedication to the value of architectural aesthetic which shall be laid on place, history and culture of surrounding environment. TheeAe pursues re-searching and re-finding the elements that have been embedded it, so as to define the beauty of the architecture within the given context.
In this passion, TheeAe has begun its practice, since 2011 in Hong Kong, to continue to explore and learn of culture and beauty of environment through the design. TheeAe’s service has been extensively covered in various areas of architecture & interior design. The projects include, one of landmark projects, Mumbai Airport (Chhatrapati Shivaji International airport), and Mumbai Hotel (Bellagio & Mandarin) in India, Medina Residence in Saudi Arabia. As well as, projects are developed and proposed in many other places around world, those of which are Afghanistan Museum in Kabul, Afghanistan, Guggenheim Museum in Helsinki, Finland, Science Center in Kaunas, Lithuania, Arch-lay Contemporary Museum in Shenzhen, China, Elevated Elf Land, the Horse theme park, in South Korea, Dubai Heart, Dubai, UAE., etc.
Our service will continue to serve the clients who are seeking for superior design quality not only to increase the value of the properties but also to bring the meanings of places for people, who will live, visit and pass by.
About Eclectic ?
The concept of a beautiful environment encompasses numerous factors.
People try to develop these environments in cities based on theories of what used to be, what is, and what is to come. They see the city for what it was and for what it is. They become accustomed to the city as it exists in the present moment. They rarely argue about why the city looks the way it does, nor do they complain. They struggle to make their livings. They just pass by the buildings when they are heading home without really noticing them. When they are home and free to enjoy themselves, they want to share their lives happily with friends, not talk about architecture.
HOWEVER, the lives shared by architects with each other is another matter. The nondescript nature of most city-scapes is not what architects desire, but just the opposite. There is joy in what one creates, however much it may be ignored by passersby. “No one is more surprised by, or feels greater joy of discovery in the building that is erected,” Tadao says, “ than the architects. ” Architects want people to understand their buildings. They want to design something new, something different from the old, from the past. They want to test their theories about what might be good for people. Whether radical or conservative, for the sake of better cities and better architecture, better culture and better art, architects desire to make our cities more livable, by means of modern technology, and sometimes in spite of it.
With technology, there have been both good and bad outcomes.
When engineers developed the elevator, for example, architects could then design taller and taller buildings, high-rises, skyscrapers. This was convenient, especially in cities where land was especially scarce, but it produced some ill-effects as well: people rode the elevators, got fat, developed pulmonary and heart diseases, and died before their time.
The use of concrete and steel allows us to create broad and high spaces, but when we want to rebuild, we are faced with a whole new set of considerations: the huge amounts of trash and debris left behind after destroying them. Always, we are trying to do the right thing and make something that is good, but no one knows really and definitively what it means to be really right or good.
The city, it describes, with its courtyards and infinite number of small, airy, well-lit rooms, has already a beauty of its own. Even if it seems to be old, it sees the beauty of the past. Even though it seems to be too radical, it understands the beauty of the future.
People create their own culture.
They create their life in architecture beyond architects’ expectation about how the space might be used. But when we design a new building involving new physical shapes and materials defining new boundaries that color and shape people’s behavior, these people need to have time to adjust to the new architecture. The boundaries I have in mind are not only physical boundaries-buildings, streets, rooms, walls, bridges, etc. but emotional boundaries as well.
When for political reasons, or reasons that have to do with the security of the state, or even the safety of the individual in areas of criminal activity, curfews prohibit access to the larger world, even within the warm and friendly confines of one’s own house, one feels that the boundaries are quite overpowering and intimidating. When a boundary of space is created, whether physical or emotional, people need time to accustom themselves to the boundary and become a part of it. Then the space becomes our tradition or memory.
In a relative way, memory of the space would define the quality of space as people would get their story of life through urban and architecture. The eclectic space is impartial. It respects their memories, emotions and habits. ‘The evolved Architectural eclectic’ would pursue the eclectic space through means of metamorphic boundaries for people to experience the variable spaces experiencing their lives to tell the present with their intact memory in the past.
Our design celebrates sustainability and contextually driven design with an international team who is passionate and diverse.
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