The Knowable and the Ineffable: an object-oriented reading of Enric Miralles’ design approach

IF 0.1 0 ARCHITECTURE
Gonzalo Vaíllo
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引用次数: 2

Abstract

Since the early 2010s, Graham Harman’s Object-oriented Ontology (OOO) has drawn significant attention to architecture, whose influenced areas have reconfigured its methods, principles, and value systems around discourses centered on reality in itself, autonomy, and aesthetics. This means that architecture and its projects are specific ‘realities’ in their own right that transcends any epistemological consideration. Besides, each reality can manifest itself in multiple ways through its ‘qualities’ – some known, and most unknown. However, each of these manifestations (or their sum) is incomplete in the fullness of its reality. In this double condition of a unitary reality surrounded by multiple features/profiles, the (architectural) object emerges as an ambiguous entity for the senses and the intellect, given that it can never be objectively defined because it can never be fully apprehended. Faced with the impossibility of an ontological knowledge of the project, contemporary architects attached to OOO have explored various aesthetic regimes to instill multiple understandings in the audience1.
可知与不可知:Enric Miralles设计方法的面向对象解读
自2010年代初以来,Graham Harman的面向对象本体(OOO)引起了建筑学的极大关注,其影响领域已经围绕围绕现实本身、自主性和美学的话语重新配置了其方法、原则和价值体系。这意味着建筑及其项目本身就是特定的“现实”,超越了任何认识论的考虑。此外,每个实相都可以通过其“品质”以多种方式表现出来——有些是已知的,大多数是未知的。然而,每一种表现(或它们的总和)在其现实的丰满中都是不完整的。在这种被多种特征/轮廓包围的单一现实的双重条件下,(建筑)对象作为感官和智力的模糊实体出现,因为它永远无法客观定义,因为它永远无法被完全理解。面对项目本体知识的不可能性,隶属于OOO的当代建筑师们探索了各种审美制度,向观众灌输了多种理解。
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