容器、塔和废墟:对初期设计的预感的调查

Kristen Kelsch, Joss Kiely, Anca Matyiku
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引用次数: 0

摘要

《船、塔和废墟》是一系列的练习,结合了建筑教育的基本要素,以及在直觉的冲动激发、严格测量的苦行纪律、利用好奇心和与崩溃调情之间摇摆不定的策略。我们时而认真,时而不敬地探索,这对船、对塔、对毁灭意味着什么。我们从字面上、比喻上、隐喻上以及介于两者之间的一切角度来看待这个问题,我们招募了一群形形色色的同伙,其中一些人因历史、摄影和炸药而出名,还有一些人在宪法和建筑上的重要性受到质疑。我们的前提是,设计专业的学生一开始就需要在一个框架内发挥自己的好奇心、猜测和冲动,在促进个人自由和主动性的同时,为他们提供一定程度的指导。贯穿工作室始终的是关于创意机构和建筑在时间、历史、文化抱负和政治的扩展连续体中的参与的问题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Vessel, the Tower, and the Ruin: Investigating Presentiments in Beginning Design
The Vessel, the Tower, and the Ruin was a sequence of exercises which combined rudimentary elements of an architectural education with tactics that oscillated between the impulsive provocation of hunches, to the ascetic discipline of rigorous measurement, to exploiting curiosities and flirting with collapse. We probed, at times in earnest and at times irreverently, what it might mean to vessel, to tower, and to ruin. We took this both literally, figuratively, metaphorically and everything in between, and we enlisted a motley crew of accomplices, some dignified by history, photography, and made famous by dynamite, and others of questionable constitution and architectural import. We operated under the premise that students of design, at the outset, need to engage their own curiosities, speculations, and urges within a framework that affords them a level of guidance while promoting individual freedom and initiative. Through and through the studio was laced with questions about creative agency and architecture’s participation within an expanded continuum of time, history, cultural aspirations and politics.
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