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Sympathy of things.

Sympathy of things.

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Sympathy of things.

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  1. Sympathy of things. Lars Spuybroek

  2. Vorige week. • Ecologie. • ‘The project(s) do not focus solelyon the ecological crisis that has been a topic of media representationsforyears, buttheyseem to engagewith a more immanent level of media ecology (…) Media is approachedfrom the viewpoint of the anima and the perceptions, motilities and energiesthat escape the frameworks of human media (Paarika 35). • Transversaliteit, non-human media.

  3. Modernisme. • minimalisme, • geometrie, • abstractie. • Platonisme.

  4. Post-modernisme.

  5. Post-modernisme. • Taalspel. • Quasi-variatie. • Vakmanschap? ‘ Gehry’s designs consist of large, handmade models of curved surfaces, which are digitally scanned three-dimensionally by a free-moving robot arm. All these warped planes are smashed blindly into each other on every corner of the volume, light-years away from Gothic grce and coordination’ (54).

  6. Tommy

  7. D-Tower

  8. Son-O-house

  9. Oblique WTC

  10. theorie • Spuybroek. • Ambacht, vakmanschap. • Creative kracht / vitalisme. • Constructivisme. • Bergson • Change through variation.

  11. Gothiek karakteristieken volgen Ruskin: 1 ‘Savage’ north. 2 Changefulness. (20) 3 Intense affection for living foliage.

  12. Gothiek Karakteristieken : 4 Grotesque. 5 Rigiditeit. 6 Redundance.

  13. Craft and code. • ‘In the Gothic, ornament acts like structure and structure acts like ornament (44). • Architecuur nu. • Rol computer. • ‘We should look carefully at how human acion organizes itself around machinery, how machinery organizes and en institutionalies acion, and how it slowly takes away or enables freedom’ (49). • Generatieve code. • Maakt variatie mogelijk. • ‘Changefulness, savageness and imperfection evolve during the design stage’ (58).

  14. Digital Gothic. 1 redundancy : overvloed aan elementen. 2 changefulness: variatie beperkt door de functie. 3 rigiditeit. 4 naturalisme : het onstaan van de vormf. 5 savageness: gebroken symetrie als resultaat. 6 grotesqueness: stap over the limit. (58)

  15. Digital gothic. • ‘ That is Gothic ontology: there is plenty of accident, yes, but accident leading to substance, and there are huge amounts of flexibility, but flexibility leading to rigidity. Things do not miraculously meet in a single moment either through magical emergence or magical intervention; rather, they settle step by step, in a process that takes on more direction the more it progresses, trading the initial vagueness for increased determination’ (67).

  16. Spuybroek’s ecology What else can architecture be than a permanent interaction with the body scheme and the group scheme? http://www.youtube.com/watch?v=jmiZ5lrrTOQ&feature=related