You Are Screwing Up The World by Dan Klyn - presentation from IA CAMP 2015

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Sociomedia

2015爛7堎17゜卞俴歹木凶IA CAMP 2015匹及Dan Klyn庌及皿伊未件氾奈扑亦件匹允﹝ A presentation given by Dan Kyn in IA CAMP 2015, July 17th 2015.

Profound Opposite Truths in Architecture
You＊re
Screwing Up
The World
※
※

You＊re
Screwing Up
The World
※
※
Profound Opposite Truths in Architecture

Maggie Moore Alexander
Lily Alexander
Center for
Environmental Structure
With deepest gratitude to:

Visual Materials Collections
Frances Loeb Library
Harvard University
Graduate School of Design
In anticipation of the assistance of

Photo from Library of Congress Detroit Publishing Collection, Call Number LC-D4-3320

You Are Screwing Up The World by Dan Klyn - presentation from IA CAMP 2015

Dwelling ＃[is]
more than
shelter.
Places
represent
architecture＊s
share in
truth.Christian Norberg-Shulz

We must learn to see
each not-wholeness
expanding action
(even if minor) as
a bomb blast
to the world
- Christopher Alexander

Even architects not immune to
the charms of the places
depicted, are loath to pursue
the folksy aesthetic they see
as implied and do not want to
engage with such primitive
construction
- Peter Buchanan

The opposite of a fact
is falsehood,
but the opposite of
one profound truth
may very well be
another profound truth.
- Nils Bohr

using
architecture as a
means of
expressing other
kinds of formal
order
2011
http://www.nytimes.com/1989/11/05/arts/architecture-view-the-museum-that-theory-built.html

※
Less the molding of space to solve
a problem than it is the concrete
realization of a theoretical idea.
Not a singular, unified object [ but ] a building that attempts to
move beyond singularity of place to a multiple, dynamic idea
of what enclosure is, what defines inside and outside.
''a building that is waiting to be a building''
1989

https://www.flickr.com/photos/27392505@N00/8560622353
1985

丐曰互午丹
@undrstndng
http://understandinggroup.com

This document is a thesis on deconstruction as a reaction against rational modernism. It discusses the philosophy of deconstruction and its applications in architecture. It examines key architects in deconstruction like Eisenman, Hadid, Gehry, and Koolhaas. It also discusses how deconstruction relates to concepts like metaphysics, clarity, logocentrism, meaning, and binaries. The document considers deconstruction's criticisms of structuralism and modernism. It provides the author's personal views on understanding deconstruction and its implications for architectural design.

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From Object to concept: environment, performance, and installation artDeborahJ

This document provides an overview of postmodern art movements that emerged in response to modernism, including minimalism, conceptual art, performance art, body art, earthworks, and installation art. It discusses how these genres emphasized ideas over visual forms, incorporated elements of theatre and audience participation, and challenged definitions of art. Key artists mentioned include Robert Morris, Joseph Kosuth, Vito Acconci, Chris Burden, Richard Serra, Michael Heizer, Robert Smithson, and Bruce Nauman. It also summarizes Michael Fried's criticism of minimalism and Rosalind Krauss' theory of sculpture's "expanded field."

robertventuricomplexityandcontradictionina-150824233823-lva1-app6892.pdfritikabhatia62

This document is the foreword to Robert Venturi's book "Complexity and Contradiction in Architecture." It summarizes that Venturi's book challenges established opinions in architecture and advocates for embracing complexity and contradictions. It compares Venturi's work to Le Corbusier's "Toward an Architecture," noting they take opposite approaches but both learned from architecture of the past. It praises Venturi's work for recognizing complexity and accommodating what exists, providing an antidote to purist urban renewal that has damaged cities. It describes Venturi as a thoughtful, humanistic architect in the great tradition of Philadelphia architects, with influences including Kahn, Aalto, and the pop artists.

Complexity_and_Contradiction_in_Architec.pdfTAHIRSHOUKAT1

This document is the introduction to Robert Venturi's book "Complexity and Contradiction in Architecture". It summarizes that Venturi's book provides an alternative viewpoint to the purist, abstract notions of order promoted by Le Corbusier's early writings. Whereas Le Corbusier celebrated isolated architectural forms in nature, Venturi finds inspiration in the complex facades of Italian cities that accommodate multiple uses. The introduction argues that Venturi's embrace of complexity and contradiction offers a necessary response to the failures of large-scale urban renewal projects that followed Le Corbusier's ideas.

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This document summarizes an academic article about how theories of everyday life have influenced the fields of architecture and architectural history. It discusses how architects have long sought to establish their profession by differentiating architectural works from ordinary or vernacular buildings. Theories of everyday life, beginning with Henri Lefebvre's work, have helped architectural thinkers examine everyday spaces and critique trends toward commercialization and standardization in the built environment. However, theories of the everyday have also reinforced dichotomous thinking about architecture and landscapes. The document argues for an alternative perspective grounded in the materiality and bodily experiences of everyday spaces.

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Peter eisenmanSanjana Pillai

Peter Eisenman is an American architect known for deconstructivist works that challenge conventions. He studied at Cornell and Columbia, and was influenced by Colin Rowe and Jacques Derrida. Eisenman co-founded the Institute for Architecture and Urban Studies in 1967. Notable works include House IV, which reveals the design process, and the Wexner Center for the Arts, whose grids and scaffolding metaphorically reference displacement. Eisenman's non-traditional designs provoke questioning of architecture and space.

Peter eisenmanPrashansa Sachdeva

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Peter Eisenman is an American architect known for developing theoretical approaches influenced by structural linguistics and Jacques Derrida's philosophy of deconstruction. He received early training at Cornell University and Columbia University. Eisenman founded the Institute for Architecture and Urban Studies in 1967, and has designed several notable buildings using conceptual processes that manipulate grids and reference philosophical ideas, including House IV, the Wexner Center for the Arts at Ohio State University, and the Memorial to the Murdered Jews of Europe in Berlin. Eisenman's work aims to provoke questioning of norms and introduce instability through non-standard designs.

Christopher alexanderkrishnakanth mallikarjun

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Post modernismHarpreet Oberoi

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WebSample_Complexity_Volume _1and2.pdfzekimamaru

Complexity and Contradiction TodayUsing the posted excerpt from .docxdonnajames55

Complexity and Contradiction Today Using the posted excerpt from Complexity and Contradiction as your foundational text, please choose a building or architectural project (it can be unbuilt) from 1960 每 2016 that supports / illustrates Venturi＊s argument. This chosen work should be something you can research and cite. Complexity and Contradiction is just that 每 complex and contradictory. There are many ways you could interpret the text. Focus on one perspective of what Venturi believes in. Use quotations from Venturi＊s work to clarify which aspect of his writing your chosen building or project supports. Use images/photographs/diagrams/drawings, etc. to help support your argument. Citations are required. Appx 700 words in length. Robert Venturi, Excerpts from Complexity and Contradiction in Architecture (1966) I like complexity and contradiction in architecture. I do not like the incoherence or arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness or expressionism. Instead, I speak of a complex and contradictory architecture based on the richness and ambiguity of modern experience, including that experience which is inherent in art. Everywhere, except in architecture, complexity and contradiction have been acknowledged, from Godel's proof of ultimate inconsistency in mathematics to T. S. Eliot＊s analysis of "difficult" poetry and Joseph Albers' definition of the paradoxical quality of painting. But architecture is necessarily complex and contradictory in its very inclusion of the traditional Vitruvian elements of commodity, firmness, and delight. And today the wants of program, structure, mechanical equipment, and expression, even in single buildings in simple contexts, are diverse and conflicting in ways previously unimaginable. The increasing dimension and scale of architecture in urban and regional planning add to the difficulties. I welcome the problems and exploit the uncertainties. By embracing contradiction as well as complexity, I aim for vitality as well as validity. Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture. I like elements which are hybrid rather than "pure," compromising rather than "clean," distorted rather than "straightforward,§ ambiguous rather than "articulated," perverse as well as impersonal, boring as well as "interesting," conventional rather than "designed," accommodating rather than excluding, redundant rather than simple, vestigial as well as innovating, inconsistent and equivocal rather than direct and clear. I am for messy vitality over obvious unity. I include the non sequitur and proclaim the duality. I am for richness of meaning rather than clarity of meaning; for the implicit function as well as the explicit function. I prefer "both-and" to "either-or," black and white, and sometimes gray, to black or white. A valid architecture evokes many levels of meaning and comb.

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This document outlines an argument for embracing complexity and contradiction in architecture. It begins by stating that complexity exists in other fields like mathematics, poetry and painting. In architecture, complexity is inherent in balancing various needs like function, structure and expression. The document criticizes some modern architecture for being too simplistic and argues complexity does not mean superficial ornamentation. Truly complex architecture reflects genuine complexity in programs and structures through tensions and ambiguities in a unified whole.

1. Nonstraightfoward Architecture A Gentle Manifesto I .docxketurahhazelhurst

1. Nonstraightfoward Architecture: A Gentle Manifesto I like complexity and contradiction in architecture. I do not like the incoherence or arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness or expressionism. Instead, I speak of a complex and contradictory architecture based on the richness and ambiguity of modern experience, including that experience which is inherent in art. Everywhere, except in architecture, complexity and contradiction have been acknowledged, from Godel's proof of ultimate inconsistency in mathematics to T. S. Eliot's analysis of "difficult" poetry and Joseph Albers' definition of the paradoxical quality of painting. But architecture is necessarily complex and contradictory in its very inclusion of the traditional Vitruvian elements of commodity, firmness, and delight. And today the wants of program, structure, mechanical equipment, and expression, even in single buildings in simple contexts, are diverse and conflicting in ways previously unimaginable. The increasing dimension and scale of architecture in urban and regional planning add to the difficulties. I welcome the problems and exploit the uncertainties. By embracing contradiction as well as complexity, I aim for vitality as well as validity. Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture. I like elements which are hybrid rather than ''pure," compromising rather than "clean," distorted rather than "straightforward," ambiguous rather than "articulated," perverse as well as impersonal, boring as well as "interesting," conventional rather than "designed," accommodating rather than excluding, redundant rather than simple, vestigial as well as innovating, inconsistent and equivocal rather than direct and clear. I am for messy vitality over obvious unity. I include the non sequitur and proclaim the duality. I am for richness of meaning rather than clarity of meaning; for the implicit function as well as the explicit function. I prefer "both-and to "either-or," black and white, and sometimes gray, to black or white. A valid architecture evokes many levels of meaning and combina- tions of focus: its space and its elements become readable and workable in several ways at once. But an architecture of complexity and contradiction has a special obligation toward the whole: its truth must be in its totality or its implications of totality. It must embody the difficult unity of inclusion rather than the easy unity of exclusion. More is not less. 2. Complexity and Contradiction vs. Simplification or Picturesqueness Orthodox Modern architects have tended to recognize complexity insufficiently or inconsistently. In their attempt to break with tradition and start all over again, they ideal- ized the primitive and elementary at the expense of the diverse and the sophisticated. As participants in a revo.

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12 Post-ModernismDouglas Vail

Postmodern architecture emerged in the late 20th century as a rejection of the rigid formalism and functionalism of Modernism. It is characterized by three main things: the return of ornament and reference to historical styles; a mixing of styles and forms rather than pure aesthetics; and a preference for complexity and contradiction over obvious unity. Key Postmodern architects like Robert Venturi, Philip Johnson, Charles Moore, and Michael Graves experimented with symbolic ornament, historical references, and unexpected juxtapositions of forms. Their buildings conveyed meaning through signs and allusions to other times and philosophies. Later architects like Frank Gehry took Postmodernism in new directions through experimental deconstructed forms and unusual materials like metal alloys.

Syp+compKen Wong

The document discusses four readings related to architecture theory. It summarizes Frank Lloyd Wright's philosophy of organic architecture that harmonizes with nature. It also summarizes discussions on architecture as self-expression, as a spatial representation of time, and the relationship between architecture and the human body. Critical regionalism is described as a means to balance local and universal influences in architecture.

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You Are Screwing Up The World by Dan Klyn - presentation from IA CAMP 2015

1. Profound Opposite Truths in Architecture You＊re Screwing Up The World ※ ※

2. You＊re Screwing Up The World ※ ※ Profound Opposite Truths in Architecture

3. Maggie Moore Alexander Lily Alexander Center for Environmental Structure With deepest gratitude to:

4. Visual Materials Collections Frances Loeb Library Harvard University Graduate School of Design In anticipation of the assistance of

5. Photo from Library of Congress Detroit Publishing Collection, Call Number LC-D4-3320

7. Dwelling ＃[is] more than shelter. Places represent architecture＊s share in truth.Christian Norberg-Shulz

9. wholeness

10. living structure

11. feeling

12. order

16. We must learn to see each not-wholeness expanding action (even if minor) as a bomb blast to the world - Christopher Alexander

17. Even architects not immune to the charms of the places depicted, are loath to pursue the folksy aesthetic they see as implied and do not want to engage with such primitive construction - Peter Buchanan

18. The opposite of a fact is falsehood, but the opposite of one profound truth may very well be another profound truth. - Nils Bohr

19. 1982

20. 19631962

21. using architecture as a means of expressing other kinds of formal order 2011 http://www.nytimes.com/1989/11/05/arts/architecture-view-the-museum-that-theory-built.html

22. ※ Less the molding of space to solve a problem than it is the concrete realization of a theoretical idea. Not a singular, unified object [ but ] a building that attempts to move beyond singularity of place to a multiple, dynamic idea of what enclosure is, what defines inside and outside. ''a building that is waiting to be a building'' 1989

24. 1982

27. 1982

28. 2012

29. https://www.flickr.com/photos/27392505@N00/8560622353 1985

33. 丐曰互午丹 @undrstndng http://understandinggroup.com

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You Are Screwing Up The World by Dan Klyn - presentation from IA CAMP 2015

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