Monday, November 3, 2014

OBJECTIVE DOMESTICITY

CARTESIANISM: OBJECTIVE DOMESTICITY                       

Intellectual revolution and theoretical objectivity in contemporary architecture.

“Historical & Comparative”

The French philosopher Rene Descartes contributed to the doctrine and principle of historical objectivity compounding to the theoretical foundation of “Cartesianism” through his treatise “Discourse of Method”. It began to emphasize the historicity in light of conceptual objectivity. The relationship of mind and corporeal sensuality is subjected to objective rationalism of forces that shapes the production (object). The objective historicism brings about substansialism of matter by dividing the existence into mind, matter & nature.

Along with Descartes, Montesquieu through his treatise “Spirit of Laws” discarded the theological interpretation of existence and paved the way for scientific history of human culture. In spite of the intimate connection between nature and culture, the reason determines the nature of responses.

The “Discourse of Method & Spirit of Laws” began to revive the renaissance significance of anthropocentric space along with the essential qualities of critical spirit, objectivity & secularization of thought that has pervaded into the contemporary thought pattern of objectivity for architectural paradigm.

Houses have always remained as theoretical excursions medium to set new cannons for contemporary practice in Architecture. The re-invention of house, “Machine for Living” became metaphoric object of modern life.

The minimum form and maximum function sets new alignment to the aesthetic of house form. The rationality & vitality of program remained constant victim for seeking new language of Architecture per se. Architecture of houses always dealt with duality of transfer of form Vs regard/disregard for the program. The harder the contrast the more it sets the challenge to the contemporary living.

House as a simple appliance was operative metaphor sets new experiment in methodical cartesianism of architectural thought in attempting to locate the aesthetic (space) of houses. The houses has always remained as product of systematic theoretical & rational research into formal field of architecture

Such research into nature of objects leads to the resultant forms that determined all the modern method of production and construction. The formal handling of volumes nevertheless convincingly demonstrates the aesthetic presence in architecture of houses while locating the parallel drawn from reading of “Discourse of Method”


CONSIDERATION OF SCIENCE: RAUM PLAN (VOLUMETRIC PLAN)

“It renders the power of judging aright and distinguishing the object of truth from error which brings good sense of reason & by nature it’s equal in all men.”

The outragious rejection of ornamentation and the draw of the parallel with crime is a clear indication of aesthetics that is principly objectified and resulted from scientific investigation of form. Adolf Loos work sets away from formlistic tendencies of form to plan in space. The sequencing of spaces was the determinant factor of organizing house program.


PRINCIPLE RULES OF METHOD: “BAUHAUS SCHOOL OF THOUGHT”

“The indiscriminate juxtaposition of values of time where perfection of work composed of collective is poised against the object perceived by cohesive method of assemblance.”

The Bauhaus attempted to contribute to the development - appropriate to the time of housing, form the simplest appliances to the finished dwelling & they must relate to each other rationally.

The school destined to achieve the systematic theoretical and practical research into formal, technical and economical field - to derive the form of an object from its natural function & limitation.


RULES OF MORALS “NEW CONSCIOUNESS OF THE AGE”

“The provisory code of morals composed of maxims and actions based on probable when power to determine object of truth is low.”

The metaphor of universality of art form over individuality.The rigorous rejection of all representational reference, including the cubist and purist.Nature was too material, too individual, universal art allowed only for abstract composition, as equilibrium of position and weight of colour.

The De Stijl were concerned with the calculated of unequal masses in an anti-cubist system which exploded the closed contours of volumetric body. The de-composition of cube led to the de-composition of program as universal & flexible, anti-dogmatic.

The contemporary practice that exists throughout the world is unified & inclusive, not fragmentary and contradictory like so much of the production of the first generation of modern architects.
The minimum form & reduction of program, construction confirms the ideal of anti- individual & architecture that precariously trapped between art & Kitsch of fifties.


REASONING OF SELF AND METAPHYSICS “MACHINES FOR LIVING IN”

“The objects that are perceived awake had no more truth in them than illussion as dreams. The self is a substance whose whole essence or nature coexists in thinking.”

The modern life, the world of activity has created own objects: pen, typewriter, furniture, ocean liner, likewise house needs to be re-invented from clutches of pilasters, crowns etc.The house is a machine for living in, it acquires clean air, full sunlight, and beauty in harmonious proportions.

The Architecture of time passionately demonstrated the nature of contemporary architecture of houses through industrial principle of construction (Dom- Ino), and exaggerated sequencing of program.

“The Mathematics of the the structural grid and a similar proportioning system with relationship to a higher (mathematical) order were some of the paradagmatic shifts from the precedence.They consisted the spaces with fixed forms and harmonic interrelationships composed of horizontal layers of free space defined by the floor and roof slabs. The rooms varied in shape and were asymmetrically arranged at each level. The plan insists on dormant centrality, while asserts within the self imposed square. I.e.Spiraling quality of asymmetry


ORDER OF PHYSICAL QUESTION & CHAIN OF TRUTH “INTERNATIALISM” SYNTACTIC MODEL

“One who unable to dertermine the object from nature of material or unable to represent equally well on single surface with all different facets of obejcts tend to select one facet in effect of light and rest in shades.”

Whiteness allows stark contrast of light & shadow, solid & void, it heighten the purity of visual form.
Engaging quotational elements, layered fa├žade, conceptual homage to the design program of whites, but slowly mutating the cubist & purist syntax by influence of pop.

It refers to the syntactic model of interrelation without external referance. It has dialectic relation between writing (transformation) and reading (implicit and explicit relation).
It represents a radical confession of faith in an autonomous architecture, which entirely frees itself from criteria of habitability.
The contemporary practice that exists throughout the world is unified & inclusive, not fragmentary and contradictory like so much of the production of the first generation of modern architects.
The minimum form & reduction of program, construction confirms the Mies ideal of anti- individual & architecture that precariously trapped between art & Kitsch of fifties.

INVESTIGATION OF NATURE: “OBJECT OF NATURE”

“The truth to object of nature seems apparent on sphere of resosn when departed from obejct of speculative science who endeavoured to regulate the actions of thought”

ARCHITECTURE OF DOMESTICATED NATURE

Nature is defined as direct component of living; House is viewed as a retreat, isolated fragments of light that illustrates the whole of nature. Architecture of domesticated nature through concrete walls offers unexpected architectural challenge. The decisive factor now become topography, wind direction, position of the sun & expectation as regards spatial program
Architecture must be “a counterpoint to nature, a dialogue with nature, Architecture can pay tribute to nature is by confrontation, by creating new equilibrium.


BIBLIOGRAPHY: WORK CITED
1.     Descartes, Rene. “The Principle of Philosophy”. Part 2. The Philosophic Works of Descartes.
2.     Lefebvre, Henry. “Introduction to Modernity” London: Verso, 1995.

3.     Scruton, Roger. “The Aesthetics of Architecture”. London: Methuen, 1979. 

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