The discovery of architectural form
翻译：Edie 原文：坂本一成 《住宅——日常的诗学》第三章 自由的构架和广阔的领域
《Project KO》 1984年 House F的原型
《House F》 1988年 摄影：大橋富夫
The goddess of architecture is dying. Or perhaps it can be said she is already dead. It is not only that the possibility of an architectural utopia has been lost, but speaking of it becomes a joke. The making relative of values destroys the myth of architecture. It is no longer a question of which form of building we try to build or which meanings to form. Whether the building is one of the masterpieces or something in town, one finds only a difference in sophistication, and a difference in taste. The world made relative has lost the meaning of yesterday.
Architecture is reborn. However, it has been reborn within consumer society. The traditional folk houses (minka) that were once only building within the environment, are now commodified as contemporary folk houses and have become architecture. The buildings of the cities have been made sophisticated and contemporary, and have changed the pre-modern street into an fashionable district. Here, architecture, based on being the earnest object of consumption, is finding a way out: today it is incorporated within the endless circulation of desire.
within the modern typification of thought and feeling, the deep structures of buildings that bring forth the hope of the possibility of a fresh architecture are lost. These deep structures are the meanings that forms, established by buildings as buildings, form within the unconscious of a people. Because their existence is exceedingly common, these buildings make the meaning brought forth by their form difficult to understand and difficult to see. Their meaning is the meaning manifest by the building, within the daily experience of the people involved in the form of the building, an experience they can no longer see within the typified gaze of the structure of contemporary consumer society.
In this plan for Project KO, in the relationship between the physical problem overcoming the geometric form of the building and the layers of metaphysical meaning, there is much intentionality. For example, this form doesn't just express the actual relationship of "front and whole" that a building's form fundamentally holds, but layers its societal character, that is the discovery of meaning with respect to the social character formed by the people using the building.
I think it would be good to rethink architecture based on the meaning functions given to the physical face of architecture by experience and daily activity. (1985)
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