By Alberto Perez-Gomez, Stephen Parcell
This paintings explores primary questions in regards to the perform of structure and examines the possibility of structure past traditional aesthetic and technological rate reductions. The essays during this assortment discover architectural shape and suggestion within the wish of discovering new and higher choices to commonly permitted practices.
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Extra resources for Chora 1: Intervals in the Philosophy of Architecture
We know from Heidegger's late philosophy that Being is no longer graspable through pure contemplation or pure instrumentality. As an event, Greek tragedy perhaps already held this promise for us, distinct from the scientific implementation of logos that resulted 30 The chora or round dance in "Le Palais Ideal du Facteur Cheval" in Drome, France. from the same cultural origins. While accepting the technological language and body from which it issues, architecture seeks to destructure it; it aims at love and recognition beyond optical seduction, it seeks to demonstrate the mysterious origin of technology and the impossibility of survival in a world of objectified things where personal and collective memory, and future possibilities for a recognizable human life, may finally collapse into pure present (cyberspace), through either a manipulation of external reality or a drugging of human consciousness.
8 and 9. 4 Plato, Timaeus and Critias, tr. P. : Penguin Books 1965). 32 Alberto Perez-Gomez 5 Hans-Georg Gadamer, The Relevance of the Beautiful, tr. N. : Louisiana State University Press 1957). 6 Plato, Timaeus, 66. , 67. In his late philosophy, Merleau-Ponty refers to this primordial element as the "flesh" of the world. This radical phenomenological understanding of a non-dualistic reality is, in my view, not so distant from Plato's own formulation. See Maurice Merleau-Ponty, The Visible and the Invisible, tr.
To Pacioli's quintessence - simultaneously a substance, a material structure, and its contents. Giulio Camillo's theatre of memory also bears comment in this regard. Although a final reconstruction of its physical form is unlikely, this locus of universal knowledge, paradigmatic for Renaissance architecture, posits a specific relationship between the spectator and the object of contemplation. Whether it was a small amphitheatre into which the operator might walk or a machina in the shape of an ascending spiral, both with compartments alluding to the seven planets and the hierarchically ordered knowledge of the world, the spectator either occupied the chora or inhabited the ambivalent periphery, like the spectators in Cesariano's image of the theatre.