This paper will examine closely at the concept of assemblage which is vital in understanding the notion of ‘inorganic life’ proposed by French philosophers Gilles Deleuze and Felix Guattari. The concept emerged in the early twentieth century and is based on German art historian Wilhelm Worringer’s work. Forty-five years later the concept was appropriated by Deleuze and Guattari in their foremost work ‘A Thousand Plateaus’.
This paper will examine the concept closely in relation to the Dapto Anglican Church designed by Jad Silvester and Penny Fuller. This auditorium building is a flexible event space for the Anglican community of Dapto, a town south of Sydney. It was designed in 2008 and completed in 2011.
The aim of this paper is to explore how the Dapto Anglican Church operates as an Deleuzian assemblage most intensely in the manner by which the church was structured unlike a traditional church. This paper starts by examining how the Dapto Anglican Church operate as a Deleuzian assemblage horizontally and then vertically. After that, it looks into the rhizomatic structure of assemblage. At each point, I will be analysing what the operation or structure means architecturally, and assessing the architecture, finally building up to the conclusion that the church operates as an intensely Deleuzian assemblage within our inorganic life.
The text that I will be interrogating upon is Deleuze and Guattari’s ‘A Thousand Plateaus’ which will be studied in line with Kim Dovey’s ‘Becoming Places: Urbanism/Architecture/Identity/Power’
Assemblage is an ontological way of conceptualising life as opposed to our accepted paradigm of defining life biologically. It is not about the life of an organism which we see before us, but that of a mechanism, an assemblage; thus, an inorganic life. (Ballantyne 2007). The key idea of assemblage is tetravalency - means of combing - comprising of horizontal valency and vertical valency. The produced assemblage carries a rhizomatic structure.
Dapto Anglican Church originally was just a road besides a preschool and St Luke’s chapel. The developed building act as a central hub that connects to church, hall and preschool with two primary spaces - auditorium and foyer (Humphrey 2012). It is a hybrid space that conceives an overlapping of programs include of community event and church service. It was not organised according to a certain program and it cannot be identified with a certain typology such as a church. This ambiguity is carried further with the monochrome scheme and contemporary modernism aesthetics that the ‘church’ manifest.
Assemblage operate through connection and it is tetravalency. In this part of the essay, I will be examining the horizontal axes of assemblage and how it operate in the Dapto Anglican Church.
For Deleuze and Guttari, the assemblage is conceived as structured along two intersecting dimensions,
For instance, a ‘street’ is an assemblage of material things, flows and spatial connections that co-exist with representational narratives, urban design codes and intensities. A street is not simply a collection of trees, cars, sidewalks, goods, people and signs; it is instead a product of the connection between them such as the interaction between building and sidewalk and the interaction between good and people, which makes the street unique and different from a car park and a shopping mall (Dovey, 2010).
The assemblage product will always speak of an identity and claim a territory. It also contains unspoken desires since desire is the basis of all assemblages and it is what drives the connection between parts. For instance, a street is a product of desires to connect between places and a piece of architecture is a product of a multiplicity of desires for shelter, security and privacy.
The horizontal operation of a Deleuzian assemblage is most clearly demonstrated in the unusual organisation of the church which is driven by forces of desires. This operation traces the process of the becoming of Dapto Anglican Church.
Initially a multiplicity of desires and fears are invested in the church. For each stakeholder, whether the church community or the local community, these would be the desire to own the space and the fear of being overshadowed by other stakeholders. Both parties hope for the maximum social engagement and encounters. The architects Fuller and Silvester not only need to fulfil the given desires, they are also quite ambitious about the project. They intended to perform a contemporary reinterpretation of a traditional church as well as to manifest in the church their simple yet rigorously functional approach to architecture.
The product driven by these forces of desire is a socio-spatial assemblage is at work. The material pole contains overlapped program space; a highly permeable circulation space that can be accessed publicly through seven points of entry; a monochrome palette and industrial material. The expressive pole contains inviting gestures, modern vocabulary, ambiguous typology and liberated identity. [Figure 1]
It may seem at once random that these disparate elements and unrelated ideas were brought together such that there is juxtaposition between a church program and an industrial aesthetic. In fact there is a logic behind this decision and the logic is to laterally combine elements based on the forces of desires. 
According to Deleuze and Guattari
Territorialisation arrives at a point of stabilisation of the assemblage; it inscribes boundary and identity. The assemblage expresses and claims. A point of stabilisation is usually found in order, comfort, uniformity and familiarity (Parr, 2005). When something changes, the assemblage takes on a line of flight and deterritorilisation occurs. Deterritorilisation does the opposite - it erases boundary and identity. Reterritorialisation is a process in which the deterritorialised elements are recombined into a new assemblage. Territories are not necessarily spatial; they can be social and boundaries are not necessarily material, it can be representational such as the erasure of identity.
For instance, home is a territorial assemblage. It produces a ‘sense of home’ in us because we have certain ways of arranging artifacts, qualities and affects that expresses us. When several walls are demolished and some furniture is moved out of the place, it is no longer ‘home’ but a deterritorialised place. An intruder or visitor to the place would produce the same effect since any process that destabilises spatial boundaries or increases internal heterogeneity is considered deterritorilisation (Dovey, 2010),
The vertical movement in assemblages is much easier to discern than that of the horizontal movement as we would always notice a machine when it breaks down or destabilises. This is also because when the destabilisation happens, we would feel it intensely since sometimes it requires us to give ourselves over and be cut from whatever assemblage that previously contains us in order to be connected with the new assemblage (Smith, 2015).
The vertical operation of a Deleuzian assemblage is most clearly demonstrated in Silver’s Dapto Anglican Church, which has no certain typology and is in a continuous state of becomings. I will now be tracking its vertical movement.
Deterritorialisation happens from the very moment one approaches the building and recognises the building is nothing like what they would have expected. It neither evokes a ‘sense of church’ nor a ‘sense of community place’. The cavernous circulation paths flow through the space without right angles, funneling visitors to and around seven points of entry of the building and two primary spaces - auditorium and foyer (Humphrey, 2012). One’s vision will constantly be framed by cuts and openings as one moves through the building; forced to perceive different spatial locations and people coming and going. [Figure 2]
The rhizome and tree are primarily metaphors for ways of thinking. Tree-like thinking organises our world hierarchically under branches, roots and stem. Rhizomatic thought is identified by lateral movement of network connectivity as opposed to the vertical stability of the stem such as potato, grass or a bamboo system (Dovey, 2010). A Deleuzian assemblage is more of a rhizomatic structure.
Deleuze and Guattari has explained the rhizomatic structure in the first chapter of A Thousand Plateaus:
A rhizomatic structure is more likely to construct an interconnected permeable network than that of a tree-like organisation with its strict boundaries and hierarchies.
Rhizomatic spatial assemblage maximises exchange, choice and encounter and it is usually seen in an open-plan office, city grid or street market. Tree-like spatial assemblage allows social reproduction and power play and it is usually seen in government or corporate offices. Such places are divided hierarchically according to position and embody highly sequenced movement through each segment. For instance, a sequenced movement from staff’s office and then to the manager’s office and finally arriving at the executive’s office.
Fuller and Silvester’s Dapto Anglican Church operate as a Deleuzian assemblage with an intensely rhizomatic structure and this is most clearly demonstrated in the church’s spatial organisation. I will now be analysing this rhizomatic structure.
The space within Dapto Church is not organised according to programmatic imperatives - definite ways of arranging space according to program. Instead, the space pace is programmed for indefinite function and chance encounters. The auditorium is a flexible event space for preaching, wedding and community event. The foyer is an informal lounge room, an interactive gathering space and an internal street. Circulation spaces are a series of ‘pause spaces’ for impromptu hanging out between events and crossings. The building can be accessed publicly through seven points of entry. [Figure 4]
It is a deliberate attempt to generate diverse forms of social encounter in the building, seeking potential overlap between programs and encouraging the exchanges between users of its diverse functions (Dovey 2010). The space is highly permeable, intensely rhizomatic and connections propel. 
Fuller and Silvester is importing the randomness of social encounters from exterior urban spaces to interior spaces. They have ‘urbanized’ the interior. As Sennett puts it, urbanity can be defined as an assemblage that produces a high intensity of encounter with different people (Sennett 1973). An urbanised interior means those who share the space within Dapto Anglican Church do not share a social label, unlike what would happen with a private school. One of the attractions of the church is that it is not attached to a socially controlled identity. It open towards anyone. What’s in doubt, however, is the effectiveness of the social encounters. It is permeable at local level, but actually inaccessible at global level due to its remote location. Are encounters limited to only the Dapto community? [Figure 5]
Nevertheless, Fuller and Silvester are successful in freeing up the programmatic imperatives which lock architecture into the service of a highly choreographed and ritualistic reproduction of social life (Dovey, 2010). There is freedom in experiencing the space. Rather attempting to dictate any particular pattern of use, users are free to discover their own alternative shortcuts and to ‘drift’ through the building.
This paper will examine the concept closely in relation to the Dapto Anglican Church designed by Jad Silvester and Penny Fuller. This auditorium building is a flexible event space for the Anglican community of Dapto, a town south of Sydney. It was designed in 2008 and completed in 2011.
The aim of this paper is to explore how the Dapto Anglican Church operates as an Deleuzian assemblage most intensely in the manner by which the church was structured unlike a traditional church. This paper starts by examining how the Dapto Anglican Church operate as a Deleuzian assemblage horizontally and then vertically. After that, it looks into the rhizomatic structure of assemblage. At each point, I will be analysing what the operation or structure means architecturally, and assessing the architecture, finally building up to the conclusion that the church operates as an intensely Deleuzian assemblage within our inorganic life.
The text that I will be interrogating upon is Deleuze and Guattari’s ‘A Thousand Plateaus’ which will be studied in line with Kim Dovey’s ‘Becoming Places: Urbanism/Architecture/Identity/Power’
Assemblage is an ontological way of conceptualising life as opposed to our accepted paradigm of defining life biologically. It is not about the life of an organism which we see before us, but that of a mechanism, an assemblage; thus, an inorganic life. (Ballantyne 2007). The key idea of assemblage is tetravalency - means of combing - comprising of horizontal valency and vertical valency. The produced assemblage carries a rhizomatic structure.
Dapto Anglican Church originally was just a road besides a preschool and St Luke’s chapel. The developed building act as a central hub that connects to church, hall and preschool with two primary spaces - auditorium and foyer (Humphrey 2012). It is a hybrid space that conceives an overlapping of programs include of community event and church service. It was not organised according to a certain program and it cannot be identified with a certain typology such as a church. This ambiguity is carried further with the monochrome scheme and contemporary modernism aesthetics that the ‘church’ manifest.
Desiring Machine
Assemblage operate through connection and it is tetravalency. In this part of the essay, I will be examining the horizontal axes of assemblage and how it operate in the Dapto Anglican Church.
For Deleuze and Guttari, the assemblage is conceived as structured along two intersecting dimensions,
The horizontal axes lies between the intermingling mechanic assemblage of bodies, actions and passions (content) and that of a collective assemblage of enunciation of acts and statements (expression). (Deleuze 2014)
For instance, a ‘street’ is an assemblage of material things, flows and spatial connections that co-exist with representational narratives, urban design codes and intensities. A street is not simply a collection of trees, cars, sidewalks, goods, people and signs; it is instead a product of the connection between them such as the interaction between building and sidewalk and the interaction between good and people, which makes the street unique and different from a car park and a shopping mall (Dovey, 2010).
The assemblage product will always speak of an identity and claim a territory. It also contains unspoken desires since desire is the basis of all assemblages and it is what drives the connection between parts. For instance, a street is a product of desires to connect between places and a piece of architecture is a product of a multiplicity of desires for shelter, security and privacy.
The horizontal operation of a Deleuzian assemblage is most clearly demonstrated in the unusual organisation of the church which is driven by forces of desires. This operation traces the process of the becoming of Dapto Anglican Church.
Initially a multiplicity of desires and fears are invested in the church. For each stakeholder, whether the church community or the local community, these would be the desire to own the space and the fear of being overshadowed by other stakeholders. Both parties hope for the maximum social engagement and encounters. The architects Fuller and Silvester not only need to fulfil the given desires, they are also quite ambitious about the project. They intended to perform a contemporary reinterpretation of a traditional church as well as to manifest in the church their simple yet rigorously functional approach to architecture.
The product driven by these forces of desire is a socio-spatial assemblage is at work. The material pole contains overlapped program space; a highly permeable circulation space that can be accessed publicly through seven points of entry; a monochrome palette and industrial material. The expressive pole contains inviting gestures, modern vocabulary, ambiguous typology and liberated identity. [Figure 1]
It may seem at once random that these disparate elements and unrelated ideas were brought together such that there is juxtaposition between a church program and an industrial aesthetic. In fact there is a logic behind this decision and the logic is to laterally combine elements based on the forces of desires.
Figure 1
Image by author, ‘unexpected pairings’ [Photomontage]. The church is an assemblage of disparate elements and previously unrelated ideas. The organisation restructures our ‘sense of church’
Image by author, ‘unexpected pairings’ [Photomontage]. The church is an assemblage of disparate elements and previously unrelated ideas. The organisation restructures our ‘sense of church’
The success of the project lies in this lateral connection that evokes curious response in one. As Koestler put it (1964), creativity is the production of new connections between previously unrelated ideas, as opposed to the hierarchic logic of common sense. It challenges how one would previously thought of the architecture. In essentialist thinking, the success of the project would probably lie in a set of characteristics which makes it unique - the highly permeable circulation path, the industrial aesthetics etc.- instead of in the connections between them.
The success also lies in the the new becoming and identity that the space promotes. The Dapto Anglican Church creates a new identity that no one is familiar with. Dovey has noticed that a spatial assemblage that mixes people of different social identities is in general less likely to reproduce those identities and more likely to promote new identity formation (2010).
What is missing from the organisation, however, is a study of social interest. How could it be assured that the church assemblage would be inviting to most visitors? The product of assemblage is also largely dependent on the chaosmos of each visitor. The assemblage is interacting with what the visitor brings to the church as a part of them. For instance, it is unlikely to evoke a curious response in a visitor who dislikes an industrial aesthetic.
The success also lies in the the new becoming and identity that the space promotes. The Dapto Anglican Church creates a new identity that no one is familiar with. Dovey has noticed that a spatial assemblage that mixes people of different social identities is in general less likely to reproduce those identities and more likely to promote new identity formation (2010).
What is missing from the organisation, however, is a study of social interest. How could it be assured that the church assemblage would be inviting to most visitors? The product of assemblage is also largely dependent on the chaosmos of each visitor. The assemblage is interacting with what the visitor brings to the church as a part of them. For instance, it is unlikely to evoke a curious response in a visitor who dislikes an industrial aesthetic.
Territory, Deterritorialisation, Reterritorialisation
The second dimension of the assemblage is an axis of territorialisation/deterritorialisation that mediates the degree to which an assemblage is stabilised or destabilised. In this part of the essay, I will be examining the vertical axes of assemblage and how they are operating in the Dapto Anglican Church.According to Deleuze and Guattari
The vertical axes lies between the territorial stabilising lines of articulation and that of deterritorialising lines of flight (Deleuze, 2014).
Territorialisation arrives at a point of stabilisation of the assemblage; it inscribes boundary and identity. The assemblage expresses and claims. A point of stabilisation is usually found in order, comfort, uniformity and familiarity (Parr, 2005). When something changes, the assemblage takes on a line of flight and deterritorilisation occurs. Deterritorilisation does the opposite - it erases boundary and identity. Reterritorialisation is a process in which the deterritorialised elements are recombined into a new assemblage. Territories are not necessarily spatial; they can be social and boundaries are not necessarily material, it can be representational such as the erasure of identity.
For instance, home is a territorial assemblage. It produces a ‘sense of home’ in us because we have certain ways of arranging artifacts, qualities and affects that expresses us. When several walls are demolished and some furniture is moved out of the place, it is no longer ‘home’ but a deterritorialised place. An intruder or visitor to the place would produce the same effect since any process that destabilises spatial boundaries or increases internal heterogeneity is considered deterritorilisation (Dovey, 2010),
The vertical movement in assemblages is much easier to discern than that of the horizontal movement as we would always notice a machine when it breaks down or destabilises. This is also because when the destabilisation happens, we would feel it intensely since sometimes it requires us to give ourselves over and be cut from whatever assemblage that previously contains us in order to be connected with the new assemblage (Smith, 2015).
The vertical operation of a Deleuzian assemblage is most clearly demonstrated in Silver’s Dapto Anglican Church, which has no certain typology and is in a continuous state of becomings. I will now be tracking its vertical movement.
Deterritorialisation happens from the very moment one approaches the building and recognises the building is nothing like what they would have expected. It neither evokes a ‘sense of church’ nor a ‘sense of community place’. The cavernous circulation paths flow through the space without right angles, funneling visitors to and around seven points of entry of the building and two primary spaces - auditorium and foyer (Humphrey, 2012). One’s vision will constantly be framed by cuts and openings as one moves through the building; forced to perceive different spatial locations and people coming and going. [Figure 2]
Figure 2
Image by Martin van der Wal ‘framed vision’[Photograph] One’s vision become fragmented by cuts and openings as one move through the building. It intensifies uncertainty and intellectually challenges one during passage.
Image by Martin van der Wal ‘framed vision’[Photograph] One’s vision become fragmented by cuts and openings as one move through the building. It intensifies uncertainty and intellectually challenges one during passage.
The encounter destabilises some territorial assemblages that one previously encounters such as a typical church or a typical community place. If one feels completely lost or surprised when navigating the Dapto church, it means they are experiencing this destabilising process at its most intense.
Reterritorialisation happens when one finds their relative point of stabilisation in the Dapto Church. For a Christian visitor this may be the familiarity with church services and church group members. The religious identity the church claims is slippery. When encountering local community members or preschool children within the space, the identity is blurred. Territories have been erased and re-inscribed socially, without the enforcement of material boundaries.
The architecture is a malleable site of passage that takes one from one territory to another (Parr, 2005). One travels in intensity and would be lost in the process of destabilisation; uncertain of where one is; be challenged by the blurring between a church, a community place or a postmodern utopia, especially when experiencing the labyrinth-like circulation and busy framings. [Figure 3]
Fuller and Silvester’s work is brilliantly functional; the space is adaptable to different uses. Another way to look at this is that the architecture is performative and is in a continuous state of becomings. This vertical operation intellectually challenges one, transforms one and constructs a place for people yet to come (Smith, 2015).
Reterritorialisation happens when one finds their relative point of stabilisation in the Dapto Church. For a Christian visitor this may be the familiarity with church services and church group members. The religious identity the church claims is slippery. When encountering local community members or preschool children within the space, the identity is blurred. Territories have been erased and re-inscribed socially, without the enforcement of material boundaries.
The architecture is a malleable site of passage that takes one from one territory to another (Parr, 2005). One travels in intensity and would be lost in the process of destabilisation; uncertain of where one is; be challenged by the blurring between a church, a community place or a postmodern utopia, especially when experiencing the labyrinth-like circulation and busy framings. [Figure 3]
Fuller and Silvester’s work is brilliantly functional; the space is adaptable to different uses. Another way to look at this is that the architecture is performative and is in a continuous state of becomings. This vertical operation intellectually challenges one, transforms one and constructs a place for people yet to come (Smith, 2015).
However, it is in doubt whether the scheme is too neutral. The architecture should make a statement about what is contained in the building and about the character of the program.
Figure 3
Image by author, ‘malleable territory’ [Sectional Axonometric] One travel in intensity from one territory to another inside the architecture.The architecture is in a continuous state of becomings
Image by author, ‘malleable territory’ [Sectional Axonometric] One travel in intensity from one territory to another inside the architecture.The architecture is in a continuous state of becomings
Rhizome/Tree
Besides from the horizontal and vertical movement of assemblage, the rhizomatic structure is also an important feature of assemblage. In this part of the essay, I will be comparing and contrasting an organic tree-like structure to an inorganic rhizomatic structure.The rhizome and tree are primarily metaphors for ways of thinking. Tree-like thinking organises our world hierarchically under branches, roots and stem. Rhizomatic thought is identified by lateral movement of network connectivity as opposed to the vertical stability of the stem such as potato, grass or a bamboo system (Dovey, 2010). A Deleuzian assemblage is more of a rhizomatic structure.
Deleuze and Guattari has explained the rhizomatic structure in the first chapter of A Thousand Plateaus:
The nature of the rhizome is that of a moving matrix, composed of organic and non-organic parts forming symbiotic and aparallel connections, according to transitory and as yet undetermined routes (Deleuze 2014).
A rhizomatic structure is more likely to construct an interconnected permeable network than that of a tree-like organisation with its strict boundaries and hierarchies.
Rhizomatic spatial assemblage maximises exchange, choice and encounter and it is usually seen in an open-plan office, city grid or street market. Tree-like spatial assemblage allows social reproduction and power play and it is usually seen in government or corporate offices. Such places are divided hierarchically according to position and embody highly sequenced movement through each segment. For instance, a sequenced movement from staff’s office and then to the manager’s office and finally arriving at the executive’s office.
Fuller and Silvester’s Dapto Anglican Church operate as a Deleuzian assemblage with an intensely rhizomatic structure and this is most clearly demonstrated in the church’s spatial organisation. I will now be analysing this rhizomatic structure.
The space within Dapto Church is not organised according to programmatic imperatives - definite ways of arranging space according to program. Instead, the space pace is programmed for indefinite function and chance encounters. The auditorium is a flexible event space for preaching, wedding and community event. The foyer is an informal lounge room, an interactive gathering space and an internal street. Circulation spaces are a series of ‘pause spaces’ for impromptu hanging out between events and crossings. The building can be accessed publicly through seven points of entry. [Figure 4]
It is a deliberate attempt to generate diverse forms of social encounter in the building, seeking potential overlap between programs and encouraging the exchanges between users of its diverse functions (Dovey 2010). The space is highly permeable, intensely rhizomatic and connections propel.
Figure 4
Image by author, ‘program overlap’ [Axonometric Diagram] Space is programmed for indefinite function which encourage exchange between users of its function.
Image by author, ‘program overlap’ [Axonometric Diagram] Space is programmed for indefinite function which encourage exchange between users of its function.
Fuller and Silvester is importing the randomness of social encounters from exterior urban spaces to interior spaces. They have ‘urbanized’ the interior. As Sennett puts it, urbanity can be defined as an assemblage that produces a high intensity of encounter with different people (Sennett 1973). An urbanised interior means those who share the space within Dapto Anglican Church do not share a social label, unlike what would happen with a private school. One of the attractions of the church is that it is not attached to a socially controlled identity. It open towards anyone. What’s in doubt, however, is the effectiveness of the social encounters. It is permeable at local level, but actually inaccessible at global level due to its remote location. Are encounters limited to only the Dapto community? [Figure 5]
Nevertheless, Fuller and Silvester are successful in freeing up the programmatic imperatives which lock architecture into the service of a highly choreographed and ritualistic reproduction of social life (Dovey, 2010). There is freedom in experiencing the space. Rather attempting to dictate any particular pattern of use, users are free to discover their own alternative shortcuts and to ‘drift’ through the building.
Figure 5
Image by author, ‘urbanized interior’ [Site Plan] The church is an internal street with seven points of entry. Silvester is importing the randomness of social encounter from exterior urban space to interior space. It is the heart of Dapto community.
Image by author, ‘urbanized interior’ [Site Plan] The church is an internal street with seven points of entry. Silvester is importing the randomness of social encounter from exterior urban space to interior space. It is the heart of Dapto community.
However, this freedom is only given in the ‘smoothed’ space. Smooth space is identified with movement and instability through which stable territories are erased and new identities and spatial practices become possible (Deleuze, 2014). The smoothing of the auditorium and foyer does not extend to the preschool and St Luke’s Church to which it connects The preschool and St Luke’s Church is each an end point to spatial movement. They are ‘striated’ spaces where identities and spatial practices have become stabilised in strictly bounded territories with choreographed spatial practices and socially controlled identities. These private spaces have a determinist interior structure that drives the social reproduction of a preschool and a traditional church.
In Deleuzian philosophy, ‘all progress is made by and in striated space but all becoming occurs in smooth space’ (Deleuze 2014). Smooth and striated come as a pair. The same applies for rhizomatic/tree-like and network/hierarchy. They cannot be seen as separate but rather as overlapping and resonating together in assemblage.
In Deleuzian philosophy, ‘all progress is made by and in striated space but all becoming occurs in smooth space’ (Deleuze 2014). Smooth and striated come as a pair. The same applies for rhizomatic/tree-like and network/hierarchy. They cannot be seen as separate but rather as overlapping and resonating together in assemblage.
Postscript
The architecture of Dapto Anglican Church reminds one of an inorganic life beyond that which we can perceive. Everything could exist as a mechanism or assemblage. Individual organisms (human) and objects (architecture) are understood through how they are assembled or arranged with other individuals and objects. The Dapto Anglican Church operate as an Deleuzian assemblage that attracts us, intellectually challenges us and transforms us. We are enchanted by the unexpected pairings, unusual organisation, urbanized interior and liberated social identity. We travel in intensity from one territory to another inside the architecture. The architecture restructures our ‘sense of church’ and transforms the way we use a church. Correspondently, we structures and dissolves the architectural assemblage with our forces of desires.Creating a boundary between the organic and inorganic now seems to be impractical. We do not exist outside of the relationship of beings that is outside us. The assemblage thinking is not always about forcing ourselves to see the bigger picture, but may be about losing ourselves a little in order to connect with the intensity of outside. Especially as architects, we should organise ourselves in alternatives ways, to free our perceptions and to approach our desire afresh, so that our architecture is not a backdrop to life, but is constructing space for people yet to come.
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