By Jonathan Hill
Drawing at the paintings of quite a lot of architects, artists and writers, this e-book considers the family among the architect and the consumer, which it compares to the kinfolk among the artist and viewer and the writer and reader. The book's thesis is trained by means of the textual content 'The loss of life of the Author', within which Roland Barthes argues for a author conscious of the creativity of the reader.
Actions of structure starts off with a critique of ideas that outline the consumer as passive and predictable, akin to contemplation and functionalism. consequently it considers how an wisdom of consumer creativity informs structure, architects and ideas of authorship in architectural layout. making a choice on options that realize person creativity, equivalent to appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, activities of structure states that the artistic person could be the significant drawback of architectural layout.
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Additional info for Actions of Architecture: Architects and Creative Users
2 from the reactive user to the creative user OTHER USERS Instead of the passive user, this chapter considers the reactive user and the creative user. For reasons of self-protection architects, collectively as a professional body attempting to monopolize a practice, often devalue the user. However, a number of individual architects recognize the influential role of the user in the formulation of architecture. This chapter discusses architects’ awareness of user creativity, while the next focuses on writers’ and artists’ evaluations of the creativity of the reader, viewer and user, and their influence on architects.
Narrative recalls stage and film direction, discussed in ‘The Passive User’, but it most resembles choreography in that the moves of a narrative-dance and the roles of the architect–choreographer and user–dancer are defined. If the user–dancer is also the architect–choreographer, he or she displays mental, bodily, physical and conceptual creativity. If the user is the dancer, or a member of the audience, but not the architect– choreographer, he or she is passive or reactive unless allowed to improvise.
In traditional Japanese and Korean houses internal and external walls are delicate and porous; in Korean houses the internal temperature is maintained by under-floor heating. Rather than glass, opaque rice paper, oiled to make it waterproof, is used in windows. Consequently, the user’s perception of the exterior involves all the senses rather than the primarily visual connection between inside and outside that is most apparent in the modernist open plan. Do-Ho Suh, an artist who grew up in a traditional Korean house, writes: ‘Korean architecture is very porous.
Actions of Architecture: Architects and Creative Users by Jonathan Hill
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