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a design tool
How space works
As a designer of public buildings and urban structures, one travels between scales, developing proximity from the larger context. The attempt here is to pursue this larger context further and to escalate it to raw material space.
You have to get to the foundations in order to rebuild everything from there and the foundation of space is the universe.
Space is philosophy itself
Through delimited space to delimited thinking,
Modernity wants space,only space,you as space.
Modernity goes completely out of its mind when it comes to itself.
A brick mortared turns from object to part of our environment.
giving meaning space.
Organic space:I myself am a part of endless joining,
the more opposite, the more intimate
the more opposite, the more intimate
there is the Universe, I am in Universe,I am Universe.
Mighty space song,start
Space is the common
Content
Introduction Work in progress
Elementary spatial experiences:
Genius Loci Universe
Genius Loci Earth
Organic spatial structure
Attempt to combine all three.
Introduction
As a designer of public buildings, you can continue the implementation of larger spatial programmes in an urban context that you learned in your studies. It is only the scale that ultimately escalates to 1:1. Coordination with the technical trades, urban planning and the clients forces a conscious, communicable design process in the form of the concept. The awareness of the design steps in a consistent selection process leads to the awareness of modern design goals in general. These can be extracted into a concept of the concept.
Through a previous study of sculpture, this becomes extremely spatial. Architectural solutions are always only spatial. When modelling the nude in art studies, students often make the transition from the physical to the spatial self-understanding, the abstraction, on the sculpture and thus on themselves. In modelling clay a kind of personal bodily deconstruction.
In the transition from sculpture to architecture, moreover, one gets caught between chairs. Even floor plan drawings tended towards spatial depth in this way. All the designs become sculpture and thus become mercilessly spatial. One arrives at the space through the sculpture instead of the floor plan.
When will modernism finally become unfashionable? For a good century, development has been going in circles. Attempts to overcome it have repeatedly revealed themselves to be a sacrilege to its ideal. It remains the topos of positioning itself immaculately, incapable of ageing. This is how the current global generation of architects is lined up, as if time had stood still, a paradox.
Modernity is thus, in its duration, an epoch, not a style or a fashion. That's why it has to be founded on elementary principles. This all-encompassing unity of artists and architects aims at space itself, in which modern man recognises himself.
From this intuitively recognised thesis, I have been developing a conception of space, how space functions, on the basis of my own design experience and elementary spatial experiences since 2016.
Uncovering this unconscious goal leads to a more conscious approach to design possibilities and surprisingly acts as a booster. The richness of its as yet unexploited possibilities keeps modernity young.
From this newly won point of view, the whole will of modernism unfolds all the way back to its beginnings in painting and sculpture. It finds its roots in the aspirations of the Gothic and the Baroque. Yes, what we call architecture is pure spatial art. And that is what is meant by architecture unifying all the arts, the Gesamtkunstwerk.
Space changes the concept of the subject and is thus a becoming conscious. This is precisely the modernist idea of the new human being. It finds its roots in the medieval mysticism of becoming one, and is thus highly emotional, as well as in Buddhist emptiness. On the other hand, it is highly intellectual in its dialectical progression. It combines intellectuality and emotionality into intuition or head feeling. Spatial-plastic consciousness includes the ego. Hence the reflexive step from the "Universe" to the "Self", which stand for each other.
The intuitive finding of these connections is itself a design process towards an even more elementary concept as a design approach. In this respect, it is only a further, consistent conceptual step towards a meta-architecture. On the concept of the concept in what architects do.
My previous notes of about 200 pages trace the path of knowledge. A persuasion to space in the form of aphorisms. In addition, I try to apply these insights practically and make them understandable in the Architecture Daily blog under my acronym "ARCseyler".
Related essays on architecture and art will also be linked.
As a work in progress, a book is to be created here. Last additions are always marked in colour. Please let me know about related attemmts. Like-minded people are welcome.
Let's see where the process of realisation still leads, which is as intuitively open as a design process and, beyond that, a design of awareness.
Space here is simply the neutralisation, the purification of one's own standpoint in order to achieve creative distance, the change of perspective from space. The point, so to speak, to unhinge the world. A world not seen through the bodily glasses, the perception of use. A neutralisation of body, gravity and object to make them manageable.
Modernity is alienated from the corporeal world and thus de-limited.
Space is always inside, ultimately "in" Universe, our most comprehensive genius loci. From here, everything fits together, via gravity down to architecture. Architecture wants to convey this awareness. But first the architect himself must become aware of it.
Architects as priests of space, in order to also fathom this expansion and to open up the three-dimensional, spatial thinking from sculpture for architecture.
The uncompromising spatial thinking as unbounded thinking, carefully developed as a means to an end.
Space is an awareness that expands the possibilities of every architect and artist. In this respect, such training for a change of perspective should be part of the basic teaching at university.
Today's training always leads from the house to urban planning to landscape to the next larger scale. Conversely, a house is designed from urban planning to its genius loci, i.e. from the next larger to the smaller scale, from the outside to the inside. In this escalation, above it follows the gravity of the Earth and the unbounded Universe as our ultimate genius loci.
"In creating gods, in recognising sheep" Scharoun. This ingeniously dilettante approach of the modern visual arts and architecture, quite in contrast to music, which is reproduced by practising craftsmanship, is thereby transcended, towards an enlightened modernity. Almost a betrayal. However, the fear of awakening from the unconscious creative approach is unfounded. Rather, this approach expands into self-awareness, disinhibits, acts as a propellant to expanded possibilities.
Elementary spacial experiences
All three of the spacial experiences discussed here are also familiar to Buddhism:
Becoming one with the Universe - I am space.
The overcoming of gravity - everything hangs
The organic structure - the path is the goal
Becoming one with the Universe
Like Giordano Bruno (1548-1600), becoming one with the infinity that one sometimes feels when there is nothing above one but the sky and the stars. The blackness between the stars goes on and on.
This elemental experience of space, for example, under the desert sky at night, as "little prince" 2.0.
under the stars there is the Universe ^
in the round of the Milky Way I am in Universe ( )
alone I am Universe < >
In this three-step process, space takes possession of us. From the objective There via the In to the subjective I am.
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In spurts, this scientific realisation became awareness and expression in art and architecture. From the geometry of the Renaissance, to the open sky of the Baroque age, to the non-objectivity of modernity.
This spatial dissolution and expansion changes the relationship to ourselves, beyond the euphoric baroque levitation, to the modern disembodied subject. This corresponds to an increasing spiritualisation of our activities, away from craft. A move of our awareness from the body into the head, the intellect, which is also followed by the gut feeling. Emotionality liberates itself physically, becomes more immoderate, more rapidly changing like the weather, which is also located in the intellectual sphere of the air (Beethoven as head music). Thinking de-limits itself to intuition, to euphoria.
Through the spatial expansion of its awareness, the subject dematerialises.
Mystical oneness as an individual experience of faith was known in the Middle Ages. Buddhism spatialises awareness into void. A similar detachment brings about the successive imagination:
Gravity
The Thai Buddha, from whose mop of hair the head, torso and, below, the globe seem to hang.
Everything hangs and spatialises like this.
Earthly space is shaped by gravity, the air space above and the ground below.
In the transition, architecture from earth material shapes our air space from below upwards, which thus breaks down from above,
coming from above, hanging down. The earth's surface separates mass from space. We thus become part of the space.
The mass rises upwards along the core and the space falls downwards along its surface like a fountain. The form determines the upward, the surface the downward. This can be seen well in Olbrich's Art Nouveau obelisks.
Body mass and spatial surface with line result in an abstract relationship.
The tower of a Gothic cathedral grasps space, which descends from above like a cataract.
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Space is a force that opposes gravity, on which everything hangs and thus spatialises itself. Architecture as spatial art hangs and thus spatialises itself and our whole relationship to the ground that hangs from it.
Architecture wants to convince us to space, to spatialise, to free us from gravity, to disembody, to spiritualise, to transcend. Architecture as a spatial hook.
We ourselves hang like the Thai Buddha from his head, from him the head, the torso and underneath the earth.
Spatialised, everything is a floating down, falling, even forward, because space is no resistance.
Space from above, the Universe, disembodies and spiritualises us. Architecture as the art of shaping space by means of matter, of defining the transition, the relationship, of becoming space.
Organic space
When driving through a hilly landscape, mountain and valley and forest and meadow and place and nature complement each other and so on.
°^~O
Parts related to each other that join to form an endlessly progressing experience, the subjective temporal structure. Only the dissection leads to the process.
Friedrich Hegel dissects thinking as a dialectical process into the three steps of thesis-antithesis-synthesis. This simultaneously depicts the democratic disintegration into parties and their agreement. Modernity as a late child of idealism.
Decomposition as an organic interrelation of functionally interrelated parts.
The technical structure as an analysis in the form of a decomposition into interrelated parts and their synthesis in the form of their interaction. For example, in a supporting structure by Richard Rogers or Günter Behnisch, which thus become the starting point for an organic experience of the landscape.
The organic complement of mass, space and line, as in the Bauhaus building in Dessau (see under Others).
The functionalisation and specialisation of building types and the functionally interrelated parts of a city.
Modernity, as an open structure as opposed to the body as a closed structure where nothing can be added or taken away.
Design as an open process like life and aimless like time. The path as a destination in the form of streets and motorways, but also through deconstruction to the structure of path-oriented architecture.
The intentional contrasting of old and new as a temporal organic of analysis and synthesis, the period of time from which entire cityscapes derive their charm. The progression of the dialectical process that becomes progress, the process of modernity.
The two-, three- and four-note harmony of the patterned materials, for example in the buildings of Häring and Scharoun. In the case of the Berlin Philharmonie, the interrelated interaction of foyer and concert hall. In each case, the contrast is the result of becoming one, of becoming space, of de-objectification.
Attempt to combine all three
Architecture is Genesis, dividing the elements into opposites,
to the spiritual world.
Genesis of space
In an early phase of the universe, mass and space has seperated. Since then the star structure leads into the space.
To the spiritual and material in the suspension o
The subject from the body and space perspective and their relationship to each other, the floating balance.
Architecture is the force and tension between the two. Hanging neutralizes standing in the process. _____^______
Mies van der Rohe starts from the universe, subdivides, subtracts, reduces - Scharoun from the individual, adds it organically . Two opposing processes and perspectives that are suspended in the balance.
Small space flight as a scientific ascension:
With rocket launch accelerate into gravitylessness and fall back hanging in gravity.
Locating oneself as a spirit in space: be \ /
hang ^
join < >
All three elementary experiences trigger movement due to forces:
the centrifugal expansion into Universe
the vertical up-down of gravity
the on and on in organic space, the floating
Because space is life and thus our reflection of being beyond our perception of use in the counterpart.
Our genius loci is infinite space, gravity and the endless joining of everything up to the stars.
develop this spatial ego
Body in mind (in built geometry )
[ x ]
instead of mind in body
the body in mind turn [A Space Odyssey 2022]
Body in Universe as space that can only be experienced intellectually
Knowledge turns into self-knowledge
Architecture wants to persuade to space
Modernity is cosmic consciousness
The all-unifying point of view
Space is not seen, but felt
Modernity is new self-design, localisation
The infinite, weightless, continuous space
Art is a way of looking at things - everything is art
The relationship to reality changes with the epoch,
becomes reality
Everything is infinite,
sensation is the finite
Figurative free sculpture, spatially between front and behind,
like yourself,
as before and after.
Big city, like space is an inside without an outside,
endless, no escape, non-figurative,
disembodies also the subject.
The orthogonal space goes through you.
A meltdown, the modern age.
A house with a gable roof wants to be a whole, a house with a flat roof - a fragment, .... part of a whole.
Own vertical from the grounding over the roof pyramid to the sky. _^_ Vertical room ornamentally increased. §
Common horizontal by means of flat roof and street. ___________ Horizontal roomstructure. Life in the ornament of rooms.
Urbanism at night, when everything is tangible rather than visible.
The first takes it all.
Spatial interpretations:
The full length of the "Bauhaus staircase" by Oskar Schlemmer
Neglected until now: In the painting "Bauhaustreppe" by Oskar Schlemmer, the staircase is divided in the centre into a descending one on the left and an ascending one on the right. As with M.C. Escher, the view of the staircase tilts in the centre axis. The figure at the top left stands on the lower, yellow intermediate landing. The back and forth between the two contradictory halves of the picture causes the figures in the centre axis to move plastically.
Painting beats architecture.
The Bauhaus in motion, how the Bauhaus building in Dessau works.
Analysing and interpreting the Bauhaus design
The Bauhaus in Dessau is regarded as the quintessence of a spatially free arrangement. However, this can be traced back to the process of unfolding. The systematics of the design are explained step by step.
https://doi.org/10.5281/zenodo.164895
The Barcelona Pavilion by Mies van der Rohe is known for its variety of materials.
These make sense as the four Greek elements: Fire, water, air and earth.
