By Jonathan Hill
Drawing at the paintings of a variety of architects, artists and writers, this booklet considers the family among the architect and the consumer, which it compares to the kinfolk among the artist and viewer and the writer and reader. The book's thesis is trained by means of the textual content 'The loss of life of the Author', during which Roland Barthes argues for a author conscious of the creativity of the reader.
Actions of structure starts with a critique of ideas that outline the person as passive and predictable, akin to contemplation and functionalism. for that reason it considers how an wisdom of consumer creativity informs structure, architects and ideas of authorship in architectural layout. determining recommendations that realize person creativity, akin to appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, activities of structure states that the artistic person will be the relevant crisis of architectural layout.
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Extra resources for Actions of Architecture: Architects and Creative Users
22. 35 Hertzberger, Lessons For Students in Architecture, p. 149. 36 Strauven, Aldo van Eyck, p. 354. The role of the user 43 The central point of the school hall is the brick podium-block, which is used for both formal assemblies and spontaneous gatherings. At first sight it would seem that the potential of the space would be greater if the block could be moved out of the way from time to time and, as was to be expected this was indeed a point of lengthy discussions. It is the permanence, the immobility, and the ‘being in the way’ that is the central issue, because it is indeed that inescapable presence as focal point that contains the suggestions and incentives for response.
Imrie writes: These conceptions of the body have their roots in the post-Galilean view which conceives of the physical body as a machine and a subject of mechanical laws. 52 Quetglas, p. 134. 53 Tafuri and Dal Co, p. 157, quoted in Wall, p. 51. 54 Evans, ‘Mies van der Rohe’s Paradoxical Symmetries’, p. 258. 55 Evans, ‘Mies van der Rohe’s Paradoxical Symmetries’, p. 251. 56 Blaser, p. 26. 57 The purpose of Weather Architecture, my project for the Pavilion, is to disrupt the status of the Pavilion as an object of contemplation and to affirm the creative role of the user in the formulation of architecture.
The clients, and present owners, are Suzanne Frank, an architectural academic who Eisenman appointed as a researcher at the Institute for Architecture and Urban Studies when he was its Director, and Dick Frank, a regular photographer of Eisenman’s buildings. In naming the house for the architect rather than the client, as is the case with most published houses, the intellectual property of the architect is prioritized over the legal or emotional property of the client. 54 Suzanne Frank recalls that ‘Eisenman spoke to us about our needs and activities in the house.