| Sorted by date | |||
page128from Building Ideas
them in terms of the wider issues, such as
cultural contexts and historical traditions.
Suggestions for further reading
Background
|
|||
|
|||
|
|
|||
page127from Building Ideas
14 Le Corbusier – Carpenter Centre, Harvard
University, Cambridge, MA, 1959-63.(Alistair Gardner)
15 Le Corbusier – Carpenter Centre, Harvard
University, Cambridge, MA, 1959-63.(Alistair Gardner)
16 Le Corbusier – Carpenter Centre, Harvard
University, Cambridge, MA, 1959-63.(Alistair Gardner)
|
|||
|
|||
|
|
|||
page126from Building Ideas
The
very heterogeneity of the definition of architecture – space, action, and
movement – makes it into that event, that place of shock, or that place of the
invention ourselves.26
This
notion of self invention recalls the thinking of Merleau-Ponty on the work of
art, particularly as a means of portraying the encounter between the artist and
the things of the world. Tschumi also makes an interesting counterpoint to the
idea of place as something fixed and stable, as he describes a more dynamic and
flexible situation where activities themselves establish new kinds of places. This
recalls Heidegger’s notion of dwelling as an activity, something that must be
constantly striven for and not something achieved or given, and its functional
programme. The follies at La Villette, for instance, illustrate this openness
to future possibilities, being a series of initially unprogrammed spaces that
different events might transform into places. The networks of paths and
walkways at La Villette also highlight the importance of movement, suggesting a
choreography of routes that recall Le Corbusier’s “architectural promenade” –
as seen at the Villa Savoye and the latter Carpenter Centre.
The
several problems with the influence of phenomenology in architecture tend to
derive from the difficulties with the philosophy itself, not least of which is
the emphasis on subjective experience and the problem of applying this kind of
knowledge in a wider, social context. While it can certainly by productive as
part of a detailed design process, particularly for the qualitative and sensory
aspects of the experience of space, it can also prove useful as part of a more “critical”
strategy, as the recent work in deconstruction has begun to suggest. Part of
this relevance depends on our next topic, the other major source for the philosophy
of deconstruction, based as it is on a critique of structuralism as a
supposedly more objective approach to interpretation. In the conclusion we will
look at other thinkers who have taken up the themes of phenomenology, but who
have tried to consider
|
|||
|
|||
|
|
|||
page125from Building Ideas
13 Tadao Ando – Meditation Space, UNESCO,
Paris, 1994-95. (Jonathan Hale)
|
|||
|
|||
|
|
|||
page124from Building Ideas
was recently published along with two sets
of photographs, one of the building and the other showing figures in motion.
Reminiscent of fashion photography, this was the architect’s decision, to try
to capture the sub-conscious context behind the conceptual process:
They
are meant to be shown next to each other to express the two aspects mentioned
above: the idea of movement as a structuring principle, and the way in which
the specific architectural imagination is engaging with the collective imagination.24
On
another level phenomenology has been used in various projects of “resistance”,
where the emphasis on bodily experience has exposed the limits of functional principles.
This has also shown how deconstruction has been deeply influenced by
phenomenology, particularly in Jacques Derrida’s critique of Heidegger and its
architectural counterpart in recent buildings. In this regard the writings of
Bernard Tschumi could also be seen as part of this movement, particularly his
early essays on the “Pleasure of Architecture” and the “erotic” dimension of
spatial experience:
Exceeding
functionalist dogmas, semiotic systems, historical precedents or formalized
products of past social or economic constraints is not necessarily a matter of
subversion but a matter of preserving the erotic capacity of architecture by
disrupting the form that most conservative societies expect of it.25
Tschumi
went on to develop this notion towards a new way of thinking about the use of
space – his idea was to avoid the kind of functional specificity which he felt
was stifling the real life of architecture. To this end he came up with the
intriguing concept of the architecture of the “event”:
|
|||
|
|||
|
|
The newest updates:
At 2021-11-02 20:28:57,
page000
Paula Noronen
Yökoulun Pieni Kauhukäsikirja
kuvitus
Kati Närhi
Tammi
... ...
At 2021-09-28 09:43:54,
page0013
Ruoka
Kakkua pullaa, leipää ja
... ...
At 2021-09-27 15:05:39,
page0012
... ...
At 2021-09-27 15:04:58,
page0011
... ...
At 2021-09-27 15:04:35,
page0010
... ...
At 2021-09-27 15:04:02,
page0009
... ...
At 2021-09-27 15:03:17,
page0008
... ...
At 2021-09-27 15:02:35,
page0007
... ...
At 2021-09-27 15:02:14,
page0006
... ...
At 2021-09-27 15:01:32,
page0005
... ...
At 2021-09-27 14:59:22,
page0000
... ...
At 2021-09-27 14:58:31,
page0000
... ...
At 2021-09-27 14:57:52,
page0000
... ...
At 2021-09-27 14:57:21,
page0000
... ...
At 2021-09-27 14:56:34,
page0000
... ...
Share to International sites:
分享到国内网站和微博
