VISUAL CULTURE

Visual Culture



Visual Culture

Assignment Four, Field Work

After spending 10 hours a day in virtual environment are fluid, gritty, poor sensory, superficial, and usually with little or no public character, the last thing we want is experiencing a real world that has the same attributes of the environment that just left ! On the contrary, seeking to compensate the transience intolerable and unhealthy today, many of us would prefer to meet with an environment rich in material sensations and social opportunities that guarantees us our own reality and presence. Susan Yelavich refers to this in his book The Edge of the Millennium, the dematerialization as a result of electronic digital technologies supports the idea that our external reality is no longer entirely legible. It is perhaps why we are so seriously concerned with the merging of internal and external realities. However, there is a growing call for recognition of this time in history, and by extension, the presentness of the spiritual dimension of existence.

The power of this to break the incantation of the virtual and return to reality is consistent with the inevitable presence and nature of architecture. Of course, we refer here to an architecture that provides the weight enough to keep us grounded even in the middle of the lightness and superficiality of our civilization. An architectural presence assures us not by holding the momentary but the present moment, not speeding up our lives but slowing them down and providing calm, rest. The architecture of presence encourages emotional and spiritual being of the visitor to draw attention to their own physical presence.

Paul Valery (French philosopher of the last century), in his essay Some Simple Reflections on the Body, notes that to really understand our corporations need to recognize a certain kind of absence, suggests that there are primordial or pre-notions existing form our being, such as the sensory aspects - vision, touch, hearing, etc.. - And those phenomena that do not contain any cultural meaning (if indeed that is possible) but create a sense of universality among humans. From this perspective, such a foundation pre-(and therefore muti) is the cultural origin of human presence and architecture. Louis Kahn spoke clearly about the origins of architecture and the need to feel the Volume zero. Least one volume. This foundation also explains why the architecture of presence, despite being anchored to the present, you can achieve transcendence.

Kahn thought of this when he described as his own works transcend their zeitgeist and eventually end up being non-functional, so there purely for themselves, hence his fascination with the ruins.

Assignment Five

Although there are examples of architecture presence in recent history (eg, works of Barragan, Kahn, Scarpa), these architectures were never produced intentionally to balance or as an alternative to our culture of speed, simulation, and fragmentation. Indeed, at this moment there is not much architectural production related to this position, especially when compared to scans done work in the field of simulation. This is perhaps because the theme of transience ...