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Architectonics
Cache, Spuijbroek en Mulder
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Cache in Buiten: Wat is geografie?
Geografie is niet omgeving van een
gebouw maar de onmogelijkheid van
zijn afsluiting. Het is een lijn door
objecten; van de stad tot de theelepel.
This outside is not relative to a giveninside; it exceeds any attempt at
interiority
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Mandelbrot
Mandelbrot: geometrie heeft nooit bestaan,is een product van threshold of perception(Massumi) een startpunt van dewaarneming.
Voorbeeld: How Long Is the Coast ofBritain? Statistical Self-Similarity andFractional Dimension
http://en.wikipedia.org/wiki/Image:Britain-fractal-coastline-50km.pnghttp://en.wikipedia.org/wiki/Image:Britain-fractal-coastline-100km.pnghttp://en.wikipedia.org/wiki/Image:Britain-fractal-coastline-200km.png8/14/2019 Hoorcollege 13: Architectonics
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Cache
fractal logic:http://www.youtube.com/watch?v=G_GBwuYuOOs&feature=related
It is therefore not only the power of continuity that allows a virtual
infinity to emerge between two points, contiguous as they may be. Itis that between any points there is an interval, a zone of
indeterminacy or availability that can always give rise, in an aleatory
manner, to another fold. If we draw surfaces with variable
curvatures within an architectural framework, we can say that we
are introducing an outside on the inside.
http://www.youtube.com/watch?v=G_GBwuYuOOs&feature=relatedhttp://www.youtube.com/watch?v=G_GBwuYuOOs&feature=related8/14/2019 Hoorcollege 13: Architectonics
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Stuctuur en Huid
Twee architectonische principes,
structuur en huid (skin):
Gropius en Corbusier prefereren
structuur
Loos en Semper gaan uit van huid
Architectuur als kleerhanger
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Maar als we echt volgens Mandelbrot ruimte willen
ontwerpen (niet volgens representatie), moeten we niet
aan de buitenkant blijven, maar moeten we ook de
ruimte binnen ontdekken
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Evolution
Soft architecture: is al lang aan de gang mbt life
Michel Serres: Life has evolved from animal forms,where what is soft lies on the inside and is covered by a
hard outside, to other forms, such as ours, where what ishard becomes interior: bones, cartilage, skeleton, whilethe soft is pressed out: flesh, mucous, skin
By the end of this evolution we might drop the bonesaltogeter.
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Cimabue (1240-1302)Cimabue (1240-1302)
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Diller Scofidio + Renfro
BLUR BUILDING
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Spuybroek/ NOX: Machining Architecture
The continuity of action and perception can happen only in a bodywhere a perception is not followed by a movement, but whereboth form a system which varies as a whole
Maurice Merleau Ponty
McLuhan to the extreme: perception and action are inseperable.Ons brein wordt gevormd door de boodschappen waarin wij leven,en ons body schema wordt er voortdurend opnieuw doorvormgegeven (Oliver Sacks).
Spuybroek (als Cache): Moeten we architectuur ook niet eensminder chronologisch denken maar fundamentally plastic,topological and continuous?
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Plato and Kant failed to explain how there
can be real communication (p.7)
Design is about creating an architecturalmorphology, a rethinking of the body plan thatmobilizes all the elements of the system
Transitive geometry is about 4 morphologies
a. Deep surfaces: planes and sufacesb. Blisters: single flat surfaces locally transformed
c. Filo: double or multilayered structures
d. Sponges: multioriented morphology
What else can architecture be than apermanent interaction with the body schemeand the group scheme?
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A. Deep surfaces: Tommy
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B. Blisters: D-towerB. Blisters: D-tower
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C. Filo: Son-O-house
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D. Sponges: Oblique WTC
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Mulder: the Object of Interactivity (static
versus dynamic media)
Modernist art represents nothing but
itself, it is interpassive:it requires a silent
reflection of art that gives back nothing of
itself. It creates an audience. Interactive
art creates itself though the audience.
How? Susanne K. Langer: art expands our
inner self (think McLuhan) and thus
creates the illusion called the Virtual
Object
Virtual life is life that is actualized by thebeholder of art through the living
experiences he or she carries within his
or her own person (p.334)
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The virtual is real without being actual,
ideal without being abstract
Marcel Proust
Our brains and our bodies do not contain two separatesystems of experience, where the one can be activatedonly by real experiences and the other only by media.
Medial experiences are as real as immediate ones andthe accompanying feelings are just as authentic (p.335) Architecture evokes a virtual ethnical domian: it turns any
arbitrary location in to a site for a people, a company or a family.
Dance contains virtual powers: the powers to which dancersseem to attract and repel eat other wile in reality being able tomove freely in any direction
Musics virtual object is the controlled, intensified passage of thepresent, of time that seems to come alive in rhythm and melody.
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Again: D-towerAgain: D-towerD-tower consists of a visible
sculpture that includes a
virtual kinetic volume: it
moves yet it is stationary.
D-tower is therefore not so
much a sculpture that shows
the emotional state if theresidents of Doetinchem as it
is an installation that enables
them to understand, expand
and deepen their emotional
life. (338)
(is this Aristotle?)
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Again: Tommy
Tommys functionality that it is a vase for
flowers - is a mere excuse it is an
animate object, a living thing, containing
something that directly touches and brings
to life the body of its owner.
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Art contains virtual experiences, virtual emotions
But what is living about an object? This: the virtual feeling that isactualized in humans and that comes to life within us.
http://www.youtube.com/watch?v=Z6v60imApC0&feature=related
http://www.youtube.com/watch?v=Z6v60imApC0&feature=relatedhttp://www.youtube.com/watch?v=Z6v60imApC0&feature=related