By Jonathan Hill
Drawing at the paintings of a variety of architects, artists and writers, this booklet considers the relatives among the architect and the person, which it compares to the family members among the artist and viewer and the writer and reader. The book's thesis is educated via the textual content 'The demise of the Author', during which Roland Barthes argues for a author conscious of the creativity of the reader.
Actions of structure starts off with a critique of thoughts that outline the person as passive and predictable, corresponding to contemplation and functionalism. for this reason it considers how an information of person creativity informs structure, architects and ideas of authorship in architectural layout. deciding on suggestions that realize person creativity, equivalent to appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, activities of structure states that the artistic person may be the significant hindrance of architectural layout.
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Extra resources for Actions of Architecture: Architects and Creative Users
52 They suggest that the modernist devotion to progress has produced not the social emancipation of mankind but the possibility of its total destruction. Anthony Vidler writes that, beginning in the 1970s, the loss of faith in the project of modernity resulted in criticism of the humanist and functionalist bodies of authority and social processing. 53 Instead of form follows function, Libeskind and Eisenman propose form against function. Unlike Hertzberger, for example, they do not make a distinction between function and use.
In contrast to the three other models of the passive user, which affirm the status of the architect through allegiance to either science, theatre and film direction, or art, the fourth model of the passive user – habit – seems to devalue the user and the architect. For architects, habit appears to be an unrewarding model of the user because there is no obvious and recognized expertise associated with it for them to claim. Benjamin states that, in contrast to the concentrated contemplation of the individual absorbed in a work of art, ‘the distracted mass absorbs the work of art.
Between 1957 and 1959 Alison and Peter Smithson proposed the Appliance Houses, reinterpretations of the modernist open plan. 27 The size of each cubicle room is different, determined by the type and number of appliances it contains. Each area of the large room is allocated a use, such as dining, which can easily change, suggesting an intriguing fluidity and overlap of use, both between the cubicles and the parts of the surrounding space. Will Alsop’s 1975 project for a House with 6 Identical Rooms, an arrangement of six interconnecting rooms in a 3 × 2 configuration, is reminiscent of a Palladian villa and, to a lesser extent, the traditional Japanese house and the modernist open plan.
Actions of Architecture: Architects and Creative Users by Jonathan Hill