-Inspired by Superstudio
Garrett Callen | Yasmine Jafari
Oct 7, 2016
Superstudio - Life Without Objects
"Architecture
My search for architecture now appears to me like that of the Graal, of the Philosopher's Stone, the Phoenix. And I believe I did not find it. I say "I believe" because I might even have found it without realizing it! I understand that this is not a very credible claim, but I shall try to explain. First of all let us see what I did NOT want to find:
I did NOT want to find a monumental architecture.
I did NOT want to find a fashionable architecture.
I did NOT want to find a beautiful architecture.
Instead I always sought a "skinless" architecture, an architecture in which the outside arises from the inside, straight out of the inner life of the men who live in it. And therefore architectures the outside of which could be utilized, gone through, touched, made use of just like the inside, plain and hill architectures, an anthill architecture for men (of course just the opposite of a phalanstery!); an "invisible" architecture (in the sense of the "invisible man"). that is why I say I did not find it. Indeed I fail to see it, even if I have a feeling that, like in the film on the "invisible man", it has grown close to me, on the verge of revealing its outline in a puff of dust, of steam or in the rain: pouring rain (like in Rashomon!) that Gavroche sought cover from in the elephant of the Bastille. The first example of an architecture/non architecture that enthralled me and may have conditioned me ever since, since I was a kid, a pal of Gavroche's, when I did not yet know I would become an architect.
"Oh unexpected usefulness of the useless! Charity of great things! Bounty of giants! This outsize monument, that had contained one of the emperor's thoughts, had become an urchin's shell: the lad had been accepted and taken in by the colossus. the bourgeois would say, examining it with their bulging eyes and an expression of contempt: 'What is it good for?'"
-Victor Hugo, Les Miserables, Book VI,II.
An architecture can be conciously negative, it can be intentionally designed to be unpleasant, uncomfortable, to not work.
-Bernard Tschumi
Florence, December 2002"
Excerpt from Superstudio - Life Without Objects, Pages 82-83.
Lang, Peter, and William Menking. Superstudio: Life without Objects. Milano (Italy): Skira, 2003. Print.
My search for architecture now appears to me like that of the Graal, of the Philosopher's Stone, the Phoenix. And I believe I did not find it. I say "I believe" because I might even have found it without realizing it! I understand that this is not a very credible claim, but I shall try to explain. First of all let us see what I did NOT want to find:
I did NOT want to find a monumental architecture.
I did NOT want to find a fashionable architecture.
I did NOT want to find a beautiful architecture.
Instead I always sought a "skinless" architecture, an architecture in which the outside arises from the inside, straight out of the inner life of the men who live in it. And therefore architectures the outside of which could be utilized, gone through, touched, made use of just like the inside, plain and hill architectures, an anthill architecture for men (of course just the opposite of a phalanstery!); an "invisible" architecture (in the sense of the "invisible man"). that is why I say I did not find it. Indeed I fail to see it, even if I have a feeling that, like in the film on the "invisible man", it has grown close to me, on the verge of revealing its outline in a puff of dust, of steam or in the rain: pouring rain (like in Rashomon!) that Gavroche sought cover from in the elephant of the Bastille. The first example of an architecture/non architecture that enthralled me and may have conditioned me ever since, since I was a kid, a pal of Gavroche's, when I did not yet know I would become an architect.
"Oh unexpected usefulness of the useless! Charity of great things! Bounty of giants! This outsize monument, that had contained one of the emperor's thoughts, had become an urchin's shell: the lad had been accepted and taken in by the colossus. the bourgeois would say, examining it with their bulging eyes and an expression of contempt: 'What is it good for?'"
-Victor Hugo, Les Miserables, Book VI,II.
An architecture can be conciously negative, it can be intentionally designed to be unpleasant, uncomfortable, to not work.
-Bernard Tschumi
Florence, December 2002"
Excerpt from Superstudio - Life Without Objects, Pages 82-83.
Lang, Peter, and William Menking. Superstudio: Life without Objects. Milano (Italy): Skira, 2003. Print.
Oct 6, 2016
Oct 5, 2016
The Powers of Ten - Eames Office (1977)
Franz Kafka
Franz Kafka wrote on the Human Emotion Spectrum- or what has been coined as "Kafkaesque.
"Is it possible that society influences how we feel/perceive spaces? Could feeling powerless, bullied, mocked, by and from society, influence our perception? When our destiny feels out of our control, do we make a connection to space? In Kafka's Metamorphosis, some speculate that maybe he was never transformed into an actual bug and that he metaphorically was a bug. In this case, what makes a human feel as though he should crawl under a chair? Or as though he should crawl up a wall. Could his insignificance have dwarfed his perception? How would the individual in contemporary society feel/perceive spaces? If this project is the study the relationship between the chair and the city, then how could perception's relation to scale affect our designs?
1883-1924
https://www.youtube.com/watch?v=g4LyzhkDNBM
Oct 4, 2016
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