Outpost 241024
It seems that the significance of an aesthetic event is in its future.
Timothy Morton, Realist Magic : Objects, Ontology, Causality.
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Reworking Subjectivity.
Actualizing Traces.
Vectors/Inscriptions and Field Conditions.
Theory and Things.
The Intuitive Practices of the Untutored Maker.
Experimental Lives.
On Simple Huts.
On Exercising Experience.
Huts, as Folly or Pavilion, serving a deeper impulse of curiosity, pleasure, experimentation, discipline. While the primitive hut belongs equally to 'what architecture is' and to 'what architecture is not' ironically its greatest significance may derive from the many non architectural ideas it engages.
Anne Cline.
Giving way to the nature of materials, new sensitivity, new subjectivity.
Ceramic objects of open intervals, intersections, inner places, and places in-between.
These primal images give us back houses in which the human beings certainty of being is concentrated, and we have the impression that in images that are as stabilizing as these are, we could start a new life. A life that would be our own that would belong to us, in our very depths.
Gaston Bachelard, The Poetics of Space.
Ann Cline.
It would seem then that the search for the primitive hut begins in play. A deconstructing process in which children seem to examine what is given them, intent upon taking it apart. While Rykwert's primitive is founded in the expression of origins, collectively imagined and believed. Bachelard's primitive is founded in the expressions of youth, not as vulgar nostalgia (as he emphatically warns) but in images as we should have imagined them during the 'original impulse' of youth.
In other times of cultural transition, the primitive hut, as invention or as a construct of experience, has brought humans to the edge of their normative existence and from there allowed perspective and experimentation.
The more 'primitive' the hut the more its creators recognized the arbitrariness of their own culture.
Within the inhabited hut, cultural issues and practices readily converge with an agility larger structures can never match. Huts bring together the physical environment with such disparate aspects of culture as necessity, fantasy, faith, and lifestyle. The hut, then, may be humankind's supreme experiment.
Divertissements and spectacles cover over the most basic human aspiration, to know what it is to have a human life.
Earth-House-Hold.
Gary Snyder. 1969
AM1.
Architecture, Art, Design, Fashion, History, Photography.
The Production of Space.
The Poetics of Space.
A Species of Spaces.
Space is not 'a priori' but rather a matter of relations between objects (things/phenomena).
Gottfried Wilhelm Leibniz.
Spatial Practices/Making Agency.
Circulation Diagram/Body/Space/Living/Activities/Production.
Movements/Interactions/Spaces/Volumes.
Tentative/Procedural Architecture (existential experiencing of built spaces).
Arakawa and Gins.
Body/Bodies as vector of movements/interactions/overlapping/navigating through interlocking/disparate spatial volumes.
Making and Meaning.
Andrew Higgott.
Peter Salter: Building Projects.
Architectural Association School.
Work created in design units such as that of Mike Gold, starting with the human figure as generator, or of Peter Wilson, prioritized sensibility over articulated theory, the evocative over the concrete: but the approach came to be evident in many student projects beyond these units. Much of this work was concerned with creating new forms of an architecture of meaning, and generating this meaning through a variety of intuitive devices.
As Peter Salter's own work developed, his interest in structural ingenuity gave way to a new sensitivity and subjectivity. A sensitivity to site and to the nature of materials, subjectivity in terms of making the personal and particular response. Seeing precedent in the practice of the Smithsons and other recent architects, but also in the practice of the untutored maker of things.
Grounding his work in the realization of the transformation of materials from natural form to the making of space: actualizing traces of context and echoes of history in its making. Rather than the more obvious and simple course of collaging fragments of pre-existing forms, it understands such devices and has an intuitive resonance of them.
Architecture in Abjection.
What Greg Lynn in the 1990s is laying out here, following Deleuze and Guattari, is a relational understanding of the world, as opposed to an understanding based on things. For Deleuze and Guattari, relations occur not only between things but within the things themselves, such that the world is a vibrating field of potential, never in a moment of stasis or being but always changing. It is therefore very much about the in-between, and it is this in-between, this field of relations, that is a multiplicity.
Although Lynn's reference to and adoption of philosophical concepts has no doubt been productive not only for his own practice but for the architectural discipline as a whole, the simplification of that philosophy serves to overlook many further-reaching implications, such as the reworking of subjectivity.
Simplification of borrowed thought is thus one key criticism in this respect. The other, which applies not only to Lynn but also to architects engaging with the concept of emergence, rests in the application of that thought as an organisational and form-generating strategy.
Influenced by the emergent behaviours within networks, swarms, flocks and so on, the key thing to point out with the uptake of a processional or relational mode of thought within architecture is the shift in emphasis from the end product – the building – to the process through which the building is conceived – the design process. The important aspect is how a form is generated, and how its parts interact and are organised, rather than the form itself.
Flows of various kinds and scales, make up architecture and connect it with the world.
Event (Deleuze/Guattari) as defined by Movement in terms of vectors and field relations, of Time or the idea that all things change, and Scale an awareness and importance of the similarities in relations across any number of scales become pertinent.
Arakawa and Gins explore a house with a client that at appears at first to be a pile of material. But that upon occupation, it expands into a habitable series of rooms whose volume shifts in relation to the movement of bodies within them.
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