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  • Poetic Origins

    Diunggah oleh

    Arch Theo
    23 tayangan9 halaman
    PG Poetic Origins of Representation

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    PG Poetic Origins of Representation

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    23 tayangan9 halaman

    Poetic Origins

    Diunggah oleh

    Arch Theo
    PG Poetic Origins of Representation

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    dari 9
    Since the Renaissance, descriptive geometry has become a generative architectural idea and a systematic representation of production, CAD’s precision is the apotheosis of this trajectory. Questions of representation: the poetic origin of architecture Alberto Péree Gomez Despteallheexctement abou digital medi itis ‘scllimpossbleoargue tha he ineeprationofsuch ‘onccrn in the prodton a architecture has bed “automatic postive eft on our but environment. hedigial'emtgarde’ has ‘degenerated into banalmannerism, producing Dbomogencousrevlts with itl reard fr cual ‘contexte allover the world Clearly sich means of representation arehere to tay an this poses, corms questions. Adcesng primarily our ‘sion ~and net other senses embodiment experimental video, computer graphics, and virtual Images have transformed ou conceptual understanding ofreality Monopolising che ‘Alsourse surrounding visual repreeetation, ‘iscussions around the scl digital revlon’ often exclude more primary sues ofmeaning nd les. “Thedigital “avant-garde” has degenerated jntoa banal manners, producing homogeneous results with ittieregard for cultural contexts allover the world. early such means of representation are here to stay, and this poses enormous questions’ Paradoxically. the fagmentationand ‘eaporalisstionofspace inated by film montage and moderaistcollage that opened upa aly Infinstereuim of poet pices for he umn sapintion vl swat heir ransntion into aehstecture Daring the two decade, the ‘schctive potential ofvirnua spec hasexpanded beyond sllexpectaions,dhroxgh both eechnoogic breakthioughsand aritic endeavours yrthe architectural profession stil reluctant o question ‘certain fundamental premises concerningthe ‘uansparency aad homnogenstyofitemeansof representation, “Aehtacturaleonoeption and reststion usally assumed oneivone corespandence between the ‘epreentediden andthe al balding, The ac tat teal media aio make histiterl transcription ‘more feasblethuough automation and roti has resulted ina unwilingnes to question is premic. Absalte contol sexentain our ‘eehnclogicalworld Although drawings, prints, ‘moves photographs. and computer graphic ply Aierse soles inthe desi proces, they are regarded most often as necessary surtogate or sulomstic transcriptions ofthe built work Todiscose pproprlate alternatives to he ideological sustosphgungmstarchetulcesionst seepisto acknowledge thatvalucladentolsof Separators ied acto reallaaion ofarchitecture: Valeadentaok ‘The proces afereation prevalent in arehitetare ‘odayarsumes that aconventional et of roections, avalousscales fom ie detail adde up 103 Complete objective evofa building isthis assumption ofthe eal el conceptual inversion ‘with eosin eary western moder, at ‘constitutes the fst stumbling Block Whether the srehtect ineffective or egaly responsible fo the ‘production ofconstrction documents (working {sarings) the assumption remains These projective ‘epresuntaliony ely om redactvermtacte ‘coectons with each proection constituting part ofadissected whole. They ae expected tobe ‘bsolutely unambiguous stid posible (misjinterprettions and functions eiient ‘neutral instruments devo afintereat value other ‘ha thie apacy for accurate traneeripeion. The arehitecral profession generally hasidentied larchitecturel drawing with such pojectie took ‘The decrptverets of projections that me ta for ranted operate ina geometried, homogeneoss space that wasconsraed asthe'real' space ofan Scion uring heninereenth conury our implicit ‘rustintheapplicton ofa scentie methodology toarchitecte dries from techniques prescribed ‘by eques Nicolas tous Durand in hire der econ dare (8oa and 3893} -Durands ‘Mecns daconpon wie the ist deg oor | glo: mesg 05 | a7 ‘method tobe thoroughly dependent on the predictive pact ofthese projections For him, sabe) Samorri vill comes immedtelsto 24 the etymologyalo speak tothe cre ‘soship between the projection of shadows an3 esr perspective an obligatory chaprer in mart, ssntcenthv-andeighteentvceneury treatises onthe Sc nthe atehitatoral radii, however, Scaphykeptitsmenningasa-draughtors ng-cutin is length apd beat todisplay the roy. inother wards. the profil oF section. This ~ ofthe term wes stil present in thenineteenth ssuy= Mader atin ictonsries translate ~osyugia be actual tern asitappeacsin the niting Viruvia manuscript athe drawing linge in perspective, and generally atu thet sword ssynonymousto scagrepa The ets ‘sx perspetve wae unknown nancent Rome nd -seawhen Vitruvius speaks about the nee peso seve appropriate to raged comedy andsatre cok¥,ch.6) hete sno mention of prspectivein nection with asc thette, iruvis deseribes, ‘exe scene asa royal pace facade with perio, “angular piecesof machinery which revolve Site beyond he doors and whose te aces were vated correspond toca detnatie eave Sacbao anges that evap which related ewe of perpectie ete deren of tape or three dramatic genres APPIOPHate Types

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