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JOHN RAJCHMAN CONSTRUCTIONS EBOOK DOWNLOAD

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John Rajchman Constructions - Download as PDF File .pdf), Text File .txt) or read online. Essays exploring he intersection of architecture and Deleuze. Editor), Roger McKeon, John Rajchman (Secretary), Michel Rosenfeld. .. Nietzsche et la philosophie, P.D.F., ; Difference et repetition, P.D.F., ; and Charles: You started from the rhythmic structures that were supposed to. Read story John Rajchman Constructions Pdf Download 2 by canutiri with 1 reads. download. John Rajchman Constructions Pdf Download 2 DOWNLOAD.


John Rajchman Constructions Ebook Download

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Constructions (Writing Architecture) [John Rajchman, Paul Virilio] on site. com. *FREE* Get your Kindle here, or download a FREE Kindle Reading App. Rajchman, John. Constructions. Cambridge, Mass. MIT Press, (ch “ Grounds”) pp “Ground” is a word like “foundation,” with uses in both. Deleuze takes up the arrow in turn, launching it in a new direction. To actualize the virtual, he says, is not the same as to realize the possible, and it is crucial not .

It is also a interesting book because it appears to capture, and even direct much of the discussion on identity from the early 90s and onward, much because of the influence of many of the contributors in the years following on from 91 when the conference was and 95 when the book was published. I am predominantly interested in Judith Butler for my research so I read her article with most care.

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However, I must say that there are wuite a This is a very interesting book to read in and of itself. However, I must say that there are wuite a few interesting papers in the book.

Cornel West's first paper has a very interesting focus on recognition. I suspect that Butler must have become somewhat influenced by the emphasis on recognition in the conference and when reading the papers in the book.

It is of course impossible to know unless one asks her , but up until about 95 Butler writes very much about performativity and abject and leans very much towards an identity of difference. The result is too often a refusal to question structure.

The structure must be stable, otherwise the edifice collapses -- the edifice, that is, both the building and the entire edifice of thought.

For in comparison to science or philosophy, architecture rarely questions its foundations. Social critics regularly question the image, yet rarely question the apparatus, the frame. Still, for over a century, and especially in the past twenty years, we have seen the beginning of such questioning. Contemporary philosophy has touched upon this relationship between frame and image -- here the frame is seen as the structure, the armature, and the image as the ornament.

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Jacques Derrida's Parergon turns such questioning between frame and image into a theme. From the beginning, the polemics of deconstruction, together with much of post-structuralist thought, interested a small number of architects because it seemed to question the very principles of geborgenheit that the postmodernist mainstream was trying to promote. After all, deconstruction is anti-form, anti-hierarchy, anti-structure, the opposite of all that architecture stands for. As years went by, the multiple interpretations that multiple architects gave to deconstruction became more multiple than deconstruction's theory of multiple readings could ever have hoped.

For one architect it had to do with dissimulation, for another, with fragmentation; for yet another, with displacement. Any interest in post-structuralist thought and deconstruction stemmed from the fact that they challenged the idea of a single unified set of images, the idea of certainty, and of course, the idea of an identifiable language.

Theoretical architects -- as they were called -- wanted to confront the binary oppostions of traditional architecture: namely form versus function, or abstraction versus figuration.

Superimposition became a key device.

Constructions (Writing Architecture) Book Download Free

This can be seen in my own work. In The Manhattan Transcripts or The Screenplays , the devices used in the first episodes were borrowed from film theory and the nouveau roman.

In the Transcripts the distinction between structure or frame , form or space , event or function , body or movement , and fiction or narrative was systematically blurred through superimposition, collision, distortion, fragmentation, and so forth.

We find superimposition used quite remarkably in Peter Eisenman's work, where the overlays for his Romeo and Juliet project pushed literary and philosophical parallels to extremes. Much of this work benefited from the environment of the universities and the art scene -- its galleries and publications -- where the crossover among different fields allowed architects to blur the distinctions between genres, constantly questioning the discipline of architecture and its hierarchies of form.

The Identity in Question

Yet if I was to examine both my own work of this time and that of my colleagues, I would say that both grew out of a critique of architecture, of the nature of architecture.

It dismantled concepts and became a remarkable conceptual tool, but it could not address the one thing that makes the work of architects ultimately different from the work of philosophers: materiality.

Just as there is a logic of words or of drawings, there is a logic of materials, and they are not the same. And however much they are subverted, something ultimately resists.

Ceci n'est pas une pipe. A word is not a concrete block. The concept of dog does not bark.

Sheetrock columns that do not touch the ground are not structural, they are ornament. Yes, fiction and narrative fascinated many architects, perhaps because, our enemies might say, we knew more about books than about buildings.

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Although both stemmed from early interests in linguistics and semiology, the first group saw fiction and narrative as part of the realm of metaphors, of a new architecture parlante, of form, while the second group saw fiction and scenarios as analogues for programs and function.

I would like to concentrate on that second view. Rather than manipulating the formal properties of architecture, we might look into what really happens inside buildings and cities: the function, the program, the properly historical dimension of architecture.

Roland Barthes' Structural Analysis of Narratives was fascinating in this respect, for it could be directly transposed both in spatial and programmatic sequence. The same could be said of much of Sergei Eisenstein's theory of film montage.

The Columbia University Rotunda has been a library, it has been used as a banquet hall, it is often the site of university lectures; someday it could fulfill the needs for an athletic facility at the University.

What a wonderful swimming pool the Rotunda would be! Of course, pragmatism is itself another theory as is the call for no theory at all. But despite its philosophical origins, pragmatism, with its various emphases on experimentation and experience, holds the promise of practical application, of action, of tangible product. Another signal event, interpreted by some as a death knell for architectural theory, occurred in the year In April, the architectural periodical Assemblage ceased publication with its forty-first issue.

Founded fourteen years earlier by editors K. Perhaps this is best reflected in the text Hays and Kennedy published in the final Assemblage issue: One point needs to be emphatically made one last time.

The end of Assemblage has nothing to do with the end of theory, neither as an editorial intention nor, in our minds, as a historical symptom.Interestingly, the specific technologies -- air-conditioning or the construction of lightweight structures or computer modes of calculation -- have yet to be theorized in architectural culture.

You are on page 1of Search inside document Constructions title: author: publisher: isbn10 asin: print isbn ebook isbn language: subject publication date: lcc: ddc: subject: Constructions Writing Architecture Rajchman, John. For it is in itself invisible and unlocalizable; it no longer requires the sort of physical displacements that provided the sense of mobility and congestion captured in the progressivist and futurist imagination.

Equally, the particles necessarily remained autonomous as elements, not interacting or combining with adjacent particles to form larger fluid bodies, which in turn allowed for only the suggestion of pooling water on a roof or a site.

But as we today in our "post-Enlightenment" times find a multiple intensive complexity in things prior to simplicity and totality of compositional elements, the perplexing casethe questionacquires a positive capacity to reframe or recreate our principles, our jurisprudence itself; and there emerges a new type of player in the game of the complexities of thought.

Table of contents

Flashback, feedback: so many unsuspected philosophical terms. For the fold, which fills up the space, is at the same time what takes the space out from itself, bursting it open and smoothing it out, releasing an intensive energy that is neither theological nor mystical, neither baroque nor oriental, neither elevating nor quieting.

Faire le point [to conclude] seems stupid to me.

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