Architecture - Building
Industralised construction - Craftsmanship
Autonomous practice - Consultative
Architecture as providing an identification with the specific character of a place, an 'existential foothold'
Heidegger & 'Place'
"Building Dwelling Thinking"Being-in-the-world
Space (abstract) - Place (socially experienced)
Language, far from being the servent of man, is all too often master - the words building and dwelling, instead of the word architecture, allowed Heidegger to emphasis inhabition and experience over the priorities of aesthetics.
"Dwelling poetically"
Architecture makes the world visible and spatial - gathering its presence in a 'thing'. In other words, the work of architecture presents, or 'brings something into presence' (it is not representaton')
Man exists between (like MAU's discussion about Va):
- earth & sky
- birth & death
- joy & pain
- work & word (?)
Architecture occurs in the boundary as an embodiment of world. "A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something beings its presencing." An embodiment of difference.
Dwelling - implies being at one with the world, peaceful, contented, liberating. This is related to the kind of building which is cultivating or nurturing.
Considering a dining table as a 'dwelling', then moving the table around a room or setting it for a meal is a kind of building of a sort- done in response to the needs of the people who will eat there. So dwelling is dependent on building and also vice versa.
One can occupy buildings daily but not feel at home in them or near to them. The German word for building, Bauen, originally means to dwell.
Dwelling requires building and then rebuilding to respond to changing needs of dwelling [- the concept of mutability?]
A building shouldn't be understood just as an object to admire, but rather it is part of an ongoing human experience of building and dwelling.
So, according to Martin Heidegger in "Building Dwelling Thinking" the relation between man and space takes on the form of dwelling. A building is what allows for a sense of place in which dwelling occurs.
A bridge stretched across a river, Heidegger argues, provides such a sense of space. Out of numerous possibilities along the river, the construction of a bridge was the site in which a place was constituted. For Heidegger, a bridge is a manifestation of the fourfold which is at the base of all dwelling. A bridge collects and unites all aspects of the fourfold (earth, sky, mortals and divinities) into a "thing". The bridge initiates the lingering and hastening of people from one side to the other, it gathers together the landscape. The bridge allows people to negotiate their relationship with earth, sky, divinities and mortals - it allowed them to stand on earth above sky, above the void; underneath the bridge, it allowed people to stand between earth and earth like a roof sheltering them from the sky; they may give thanks to the divinties for their presence....the bridge allows people to understand the world around them.
The bridge is a like a picture frame - it presents what crosses it, it also presents the world around the bridge to people crossing it.
As a thing which negotiates between people and their circumstances, the bridge might occasionally prompt people to think about being.
Mythological moments & rituals such as those created by Peter Zumthor in the Vals spa
- memory, myths - the immediate evidence of experience and memory
- touch, smell, sound, taste - textures, steam, light
- From 'Heidegger For Architects' Adam Sharr Routeldge Taylor & Francis Group
Interview with Peter Zumthor about Vals:
"They...will recognise this building...because they know buildings like that...Ordinary people come in, older people come in here and say its good that I can come here and its not this cool atmosphere where I would like to wear a robe going into the water. "- a bit of mythology included, plus theatre in the arrival, but does not give a feeling of fakeness at all
Peter Zumthor "The Magic of the Real"
You need to read the entire essay about his description of an experience sitting in a square in Sukiennice, but at the end he states:
'Did my experience actaully have very little to do with the square and its atmosphere? ...I imagine there is no square and my feelings for the situation as it was then have already become unusually faint...Without the atmosphere of the square...the emotions would have never been the same...there is an interaction between our perception and the things that surround us....With my work, I contribute to the actual conditions, to the pleasant positioning in space that can trigger our emotions.
The magic of the real: this is for me the alchemy by which real substance is transformed into human emotions, that special moment of the emotional appropriation or transformation of matter, substance and form in architectural space."
He strives to create work in which people feel good, look good, which give a feeling of dignitiy and freedom.
The quality of sound, the temparature, the positioning of internal structures in spatial sequences which lead us, bring us about, but also free and seduce us.
The careful staging of tension between the interior and exterior, public and intimate
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