The first part of this openness is about perception and can be found in the multiple interpretations of an amorphous shape. It is the most obvious part, but it is confined to the discussion realm.
The second part of this openness is focused on control and choice. It was born in the ’60s along with the need for flexibility, acting as a counterpoint to Fordism. It allowed the user to reorganize and play with their kit-of-parts, choosing one of the final designs proposed by the author.
The third part of this openness might be harder to notice. It not only sparks imagination but allows for it to be expressed; it not only enables choice but allows for the questioning of decisions. It is in the vagueness of an object designed to be nothing, but used for many things; it is on the path that becomes a roof, a stage, a tower before it gets swallowed by the sand; it is in the kiosks with imperfect fits that are doomed to remain in constant movement. This openness builds off of the first two, incorporating them into itself. This is the openness that falls in between the vectorial and the metrical, the gridded and the open-ended, the smooth and the striated, and it is the kind of openness proposed in this thesis.