Een echte virtuele ruimte

3/26/2012
een echte virtuele ruimte produceren
Janet Cardiff, Forty-Part Motet 2001, Thomas Tallis Spem in Alium nunquam habui,
jctv
Spem in alium nunquam habui præter
in te, Deus Israel:
qui irasceris et propitius eris,
et omnia peccata hominum in
tribulatione dimittis.
Domine Deus, Creator cæli et terræ,
respice humilitatem nostram
Mijn hoop is slechts op U gesteld,
God van Israel,
die toornig is en toch genade toont
en de zonden vergeeft van mensen die
lijden.
Heer God, schepper van hemel en aarde,
zie om naar ons in onze nederigheid
responsorium uit Sarum Rite, adapterdd from the Book of Judith.
Architectuur en (beeldende) kunst
Voor opa was het doodgaan
• Stijl als product van ons cognitief en kennis-organiserend vermogen
[...] niet zoiets als nacht:
– Stijl als zelf techniek
– Patroon herkenning: de fenomenologie van het waarnemen: herkenning,
typering
• Portret als relationeel en hiërarchiserend vermogen: De retoriek van het
Het was de steeds grotere ruimte
beeld: compositie en strategie
– Masker als ruimtelijk instrument
– Het eigen maken van betekenis: jouw portret van het andere is tevens een
portret van jezelf
• Ruimte-tijd als relationeel organiserend vermogen
Die hij voor zichzelf had bedacht.
– Ruimte en organisatie: narratieve ruimte en ruimtelijke narratieven (Kant)
– Ruimtelijke praktijk: de representatie van ruimte en representatieve ruimte
(Lefebvre)
• Licht en donker, kleur en textuur: de ware aard van vorm
Willem Wilmink, (1936) “Opa” uit: ik had als kind een huis en haard (1996)
•
•
•
•
•
•
•
•
•
•
•
The Substance of Space
– Empty Space: Nothingness
– Full Space: Ether
– The In-Between
Mythical Space: Breaking Space
– Epiphany/ Hierophany
– Event & Initiation
– Sacred and Profane: Hierarchy
– Axis Mundi
– Transcendence & Allegory
Erotic Space: Desire/Voyeurism/Fantasy & Film
Dimensional Space: Space-Time & Measurement
Carving, Moulding, Shaping and Cutting Space: Ontology of Matter &
Style
Flowing Space: Movement and stillness, Continuity and Division
Conceptual Space: Thought and Memory as Landscape; Narrative, Travel
and Architecture
Measuring Space: Space-Time & Light
Philosophical Space
– Simile & Metaphor
– Analogy
A history of Space
Virtual space and Real space
wat zullen we de virtuele ruimte
noemen, en wat de reëele ruimte?
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3/26/2012
The brain in the vat, Hilary Putnam
http://www.youtube.com/watch?v=ursdoT66JlU
en wat is het
verschil
precies?
David David Summers, Real Spaces, World Art History and the Rise of Western Modernism, Phaidon, 2003
Foto uit Vossische Zeitung, 19, 11-5-1924, radio maakt officiele
verkiezingsuitkomst bekend
Cumberland Station in Chicago, Filmstill of Slow Space, the film in construction
Bruce Berrien, Bridgeport, end
2
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Student van Peter Hans, zwemmer 1929
Student van Peter Hans, plein,
1929
UMBO Otto Umbehr,
Onheilspellende straat 1, 1928
Rachel Whiteread, Untitled -house- 1993
Gotthart Itting, Bauhaus, Dessau, hoek
trappenhuis ateliers, 1927
Rachel Whiteread, Basement, 2001
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Untitled Paperbacks by Rachel Whiteread, 1997
Rachel Whiteread, Monument, 2001
Gordon Matta Clark, 1943-1978, Circus of the Caribbean Orange, 1978
Gordon Matta Clark, 19431978, Circus of the Caribbean
Orange, 1978
Gordon Matta Clarke, Splitting, 1974
Gordon Matta Clark, 19431978, Office Baroque, Antwerp,
1977
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Gordon Matta Clark, Big-go-ne By 1-9ths
Gordon Matta Clark
Kasimir Malevich, Suprematism, 1915
Anish Kapoor, Mother as a solo, 1988
Adolfo Natalini, Superstudio, 1966, continuous monument
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August Schmarsow
Ruimte
– Consumeren
– Waarnemen
– Ervaren/gewaarworden/ondergaan
– Beschrijven
– Produceren
Raumgestalterin
Jede Gestaltung des Raumes ist zunächst
Umschließung eines Subjekts, und dadurch
unterscheidet sich die Architektur als
menschliche Kunst wesentlich von allen
Bestrebungen des Kunsthandwerks.
• Schmarsow, August: Das Wesen der
architektonischen Schöpfung : Antrittsvorlesung,
gehalten in der Aula der K. Universität Leipzig am
8. November 1893 / August Schmarsow. - Leipzig :
Hiersemann, 1894. - 30 S.
• Schmarsow, August: Der Werth der Dimensionen
im menschlichen Raumgebilde. - Leipzig : Hirzel,
1896. - S. 44 - 61
Raumgefühl und Raumphantasie drängen
zur Raumgestaltung und suchen ihre
Befriedigung in einer Kunst; wir nennen sie
Architektur und können sie deutsch
kurzweg als
Raumgestalterin
bezeichnen.
Apeiron. (ἄπειρον) = Infinity without a direct suggestion of
space.
Anaximander, the younger compatriot of Thales, denoted by it a generative substance
of the universe (Kirk and Raven, Ch. 3).
Aristotle's Physica. Book 4 of this treatise is made
up of three essays, on place (Chs. 1-5), on void (Chs.
6-9), and on time (Chs. 10-14). Now, immediately
preceding these essays (Book 3, Chs. 4-8) is an essay
on apeiron, as if to indicate that there is a close link
between infinity and space (and void).
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Makom & Topos. Hebrew makom and Greek topos (τόπος).
The literal meaning of these
two terms is the same, namely “place,” and even the
scope of connotations is virtually the same
Either term denotes: area,
region, province; the room occupied by a person or
an object, or by a community of persons or arrangements of objects.
Cosmos. (κόσμος) Homeric, The basic meaning
in Homer is “order,” and throughout the length of
antiquity this original meaning remained active amidst
many figurative ones.
This “order” began to be “universe,” by way of
“world-order,” in the following saying of Heraclitus
of Ephesus (Diels, frag. 30):
This cosmos [κόσμον τόνδξ] did none of the gods or men
make, but it always was and is and shall be; an ever living fire,
kindling in measures and going out in measures (Kirk
and Raven, p. 199).
Kenon (“Void”). Early Pythagorean philosophy,
identified space with
kenon (κενόν), which literally means “void.”
in the Physica, Aristotle
has a passage about Pythagoreans which links kenon
with apeiron (“infinity”), pneuma (“breath”), ouranos
(“heaven”), and arithmos (“number”):
The Pythagoreans, too, held that the void exists and that
breath and void enter from the infinite into the heaven itself,
which as it were inhales; the void distinguishes the nature
of things, being a kind of separating and distinguishing
factor between terms in series. This happens primarily in
the case of numbers; for the void distinguishes their nature
(Physica 4, 6; 213b 22-28; Kirk and Raven, p. 252).
Chaos. (Physica,
Book 4, Chs. 1-5) Aristotle suggests (208b 29) that Hesiod's
“Chaos” (χάος) was one of the
earliest (Greek) designations for space, or perhaps universe, and he also quotes line 116 of Hesiod's Theogony:
“First of all things was Chaos, and next broad-bosomed
Earth.”
Chora & Topos. In Plato's creation myth in the
Timaeus space-in-the-making, that is, space in its
cosmogonic nascency and formation, is called chora
(χω̃ρα), but after its creation has been completed it
is called topos.
Lao Tzu (c. 550 BC) Chapter 11 of Tao Teh Ching
Thirty spokes converge upon a single hub;
It is on the hole in the centre that the use of the car hinges
We make a vessel from a lump of clay;
It is the empty space within the vessel that makes it useful
We make doors and windows for a room;
It is these empty spaces that make the room liveable
Thus while the tangible has advantages
It is the intangible that makes it useful
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Spatium. Latin, space (English),
espace (French), spazio (Italian), espacio (Spanish), etc.
Cicero uses the
expression spatium praeteriti temporis, in the meaning
of: “the space (i.e., interval) of time gone by,”
i. kant:
das ding an
sich
een
psychologie
van de ruimte
Immanuel Kant (1724 Königsberg 1804)
• De Igne 1755
• Principiorum Primorum Cognitionis Metaphysicae
Nova Dilucidato (1755)
• Untersuchung über die Deutlichkeit der
Grundsätze der natürlichen Theologie
und der Moral (1764)
• Beobachtungen über das Gefühl
des Schönen und Erhabenen (1764)
• Träume eines Geistersehers erläutert
durch Träume der Metaphysik (1766).
• Kritik der reinen Vernunft 1781 & 1787
• Kritik der praktischen Vernunft (1788)
• Kritik der Urteilskraft (aesthetic and teleological)
(1790)
45
3 steps for the mind to work on experience: sensibility, understanding and
reason.
• The “things in themselves” (German: das ding an sich) the causes of
our sensations, are, as Berkeley had shown us, unknowable. These
unknowable causes of our sensations do not inhabit space or time,
they are not substances, nor can they be classified or described by
any categories (Or at least we cannot know that they are…)
• For two events to be thought of as causally related, they must be
perceived in temporal succession. But many pairs of events exhibit
succession in time without being in a causal relationship. To
comprehend two events in a causal relationship therefore, one must
add to perception the faculty of the understanding.
Ruimte = de sociale ruimte
Ruimte – mijn ruimte- is
voor alles mijn lichaam…:
het beweeglijke snijvlak
tussen dat wat het aanraakt,
penetreert, bedreigt of goed
doet.
Henri Lefebvre (16 June 1901 – 29 June 1991) La production de
l’espace (1974)
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Hoe is dit:
Henry Lefebvre:
• Een voorbeeld van een
ruimtelijke praktijk?
• Een voorbeeld van de
ruimte voor representatie?
• Een voorbeeld van de
representatie van ruimte?
De productie
van ruimte
La production
de
l’espace (1974)
Ruimte voor
representatie
Sociale
Ruimte
Barbados, Chattel House
Ruimtelijke
praktijken
De
representatie
van de
ruimte
Aalten, hervormde kerk, Late Gotic with 19th C seating arrangement
Nieuwe Kerk Haarlem, Nieuwe Lutherse Kerk Amsterdam
Wells kathedraal, kapittelzaal,
interieur, 1290-1300
A fabulous emblem of space...
St Stephen Walbrook & a Project for St Martin in the Fields
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Topics covered so far..
• Virtual space versus real space Summerson
• Spacetime as our way of organising the
world around us Kant
• Spatial Practice [AND] Representation of
space [AND] space as representation
Lefebvre
• The construction of social space Lefebvre
Merleau Ponty, le visible et le invisible, 1964 (1968)
The body unites us directly with the things
through its own ontogenesis, by welding to
one another the two outline of which it is
made, its two laps: the sensible mass it is
and the mass of the sensible wherein it is
born by seggregation and upon which, as
seer, it remains open. Le Chiasme, P.136
representations
of perfect space:
a perspective
on the control of space and spatial control
Leonardo da Vinci, the five platonic solids, from Lucia Pacioli's Divina Proporzione,
Venice, 1509
Piero della Francesca, De quinque corporibus regularibus, 1480’s
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Johannes Kepler, 1571-1630, PLatonic Solids composing the universe
Tycho Brache, 1546-1601 in zijn
sterrenwacht
Ptolemaisch universum, Andreas Cellarius, Atlas Coelestis seu Harmonica Macrocosmica, Amsterdam 1660
Johannes Kepler, 15711630, PLatonic Solids
composing the universe
Nicolaus Copernicus, 16th C
Copernicus, own handwritten
diagram of the universe, 152233
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Copernicaans universum, Andreas Cellarius, Atlas Coelestis seu Harmonica Macrocosmica, Amsterdam 1660
Tychonisch universum, Andreas Cellarius, Atlas Coelestis seu Harmonica Macrocosmica, Amsterdam 1660
Robert Fludd, The
primeval duality, 1629
Tycho's Hven Island, 1586, Uraniborg is at the centre
Robert Fludd, The Great Darkness, The Macrocosm, 1624
Robert Fludd, Let there be light, The Macrocosm, 1624
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Robert Fludd, The The Appearance of Light, The Macrocosm, 1624
Robert Fludd, The Chaos of the Elements, The Macrocosm, 1624
Robert Fludd, The creation of the sun 1, The Macrocosm, 1624
Robert Fludd, The Division of the Waters, The Macrocosm, 1624
Robert Fludd, The Central Sun, The Macrocosm, 1624
Robert Fludd, The creation of the sun 2, The Macrocosm, 1624
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Robert Fludd, The elemental sphere 1, Fire, The Macrocosm, 1624
Robert Fludd, The elemental sphere 2, Earth, The Macrocosm, 1624
Robert Fludd, The elemental sphere 3, Water, The Macrocosm, 1624
Robert Fludd, The creation of the Primium Mobile, The Macrocosm, 1624
Claude Nicolas Ledoux, Meditation on the birth of the world, 1804
Karl Friedrich Schinkel, Design for Mozart's MAgic Flute, 1815
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EL Boullée, Monument destiné aux hommages dûs àlEtre Suprême, c 1793
Ed anch’io son pittore
Etienne Louis Boullée, Architecture, Essai sur l'art, 1781-93
Etienne Louis Boullée, Essai sur l'art, design for a cathedral, 1781-93
Etienne-Louis Boullée, Ontwerp voor een Metropool, 1781-82, interieur
Etienne-Louis Boullée, Ontwerp voor een nationale bibliotheek, 1785, binnenaanzicht
Etienne-Louis Boullée, Cenotaaf A Newton, 1784
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Etienne-Louis Boullée, Ontwerp voor een cenotaaf voor Isaac Newton, 1784,
dagaanzicht
EL Boullée, Monument to Newton at night
Our daily Bread van Nikolaus Geyrhalter
William Blake, Ancient of
Days, 1794
Our daily bread
Hans Vredeman de Vries, Perspective, 1604-5
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Filippo Brunelleschi, Reconstructie van Perspectiefdemonstratie
Theme No. 3: The
Organisation of
Information
Florence, Het
Baptisterium,
San Giovanni,
10e of 11e eeuw
Willekeurig systeem: plaatsing horizontale lijnen a,b,c,d telkens 2:3
Florence, Het
Baptisterium,
San Giovanni,
10e of 11e eeuw
Systematische benadering van Alberti
Sebastiano Serlio, tutte l'opere, 1619, perspective
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Sebastiano Serlio, tutte l'opere, 1619, perspective
Sebastiano Serlio, tutte l'opere, 1619, perspective
Sebastiano Serlio, tutte l'opere, 1619, perspective
Sebastiano Serlio, tutte l'opere, 1619, perspective
Sebastiano Serlio, tutte l'opere, 1619, perspective
Masaccio, La SS Trinita,
1401-1428, Santa Maria
Novella, Florence
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Massolino, Herod’s Feast, 1435
Jacoppo Bellini, Preek van Johannes de Doper, ca 1450
Piero dell Francesca, Flagellation of Christ, 1455
Paolo Ucello, perspetivische studie
van een kelk
Paolo Ucello, 1397-1475, De zondvloed, 1439-40
Hans Holbein, The Ambassadors
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Samuel van Hoogstraten, 1627-78, Peepshow Interior, 1655-60
Johann Jacob Schübler, Perspectiva, pes
picturae, part II, 1720, longimetric
perspective
Bolognese School, 18th c, exercise in perspective
Caramuel,
Architectura Recta y obliqua, 1678
Pozzo, Perspectiva, 1693-1700
Andrea Pozzo, Allegorie op het missiewerk van Jezuïeten, San Ignazio, Rome,
1691-94
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Andrea Pozzo, St Ignatius in Glory, 1691
Pozzo, S. Ignazio Cures Victims of the Plague, 1688, Rome
Andrea Pozzo koepel
Johann Michael
Rottmayr, Koepelfresco,
1716-17, Melk
Stiftskirche
Cosmas Damian Asam,
Weltenburg, Benedicteinenabdij,
1716
Putting the
body in
the
building
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Walter Roseblum, Hopscotch, NY, 1952
De landmeter “K”
in Kafka’s Het
Kasteel
Ruimte machines
Deluxe maternity pen
Warren Chalk, Peter Cook, Dennis Crompton & Ron Herron, Control & Choice, 1967
Squeeze Shute
The Alabama Cooperative Extension service list four basic types of headgates: self-catching, scissors-stanchion, positive-control,
and full-opening stanchion.
A door for giving injections in an animal's neck is almost a necessity in order to avoid damaging expensive cuts of meat. A service
door or palpation cage provides access to the rear of animals. Hydraulic squeeze chutes take some of the effort out of operation
source: http://www.agriculture.com
Alison and Peter
Smithson, Small
Pleasures of Life'
Alison and Peter Smithson, Small Pleasures of Life'
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The design of daily life
Alison and
Peter
Smithson,
Small
Pleasures of
Life'
•
•
•
•
•
•
•
•
•
•
•
•
light and dark as the beginning and end
form and composition a machine of rest
tectonics: hearing space
details and god: touch and feel
material and cladding: a feast
climate; inside-outside
geometry: routing & oriëntation: the theatre of turning
attitude to the street: living
use and institution:
memory and history: the foundation of the future
truth: belief and reality: oh shit....
fetish, weapon, treasure?
Heidegger, dichterlijk woont de mens
spacetime
E=MC2
space as movement
Heidegger, dichterlijk woont de mens
Cesariano, de Architectura, 1521, de kubus
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Cesariano, de Architectura, 1521, proporties
Vilmos Huszár, 1884-1960, Compositie De Stijl, 1916 & De Stijl Magazine Cover,
1917
Gerrit
Rietveld, Red
and Blue
Chair, 191718
Gerrit Rietveld, Red and
Blue Chair, 1917-18
Gerrit Rietveld, End Table, 1923
Gerrit Rietveld, Light fitting from the Schröder House, 1923-4
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Gerrit Rietveld, Sculpture Pavilion Sonsbeek, 1954, sketch model
Gerrit Rietveld, 1888-1964, Isometrische projectie Rietveld Schröder Huis, ca
1924
G Rietveld & T schröder, Rietveld Schröderhuis, Utrecht, 1924, interieur
Spatial
representations
:
filmic space
ruimte =
raum =
room =
kamer =
camera =
A dynamic conception of architecture,
which overcomes the traditional notion
of building as a still, tectonic construct,
allows us to think of space as practice.
Giuliana Bruno: Movement is spatial
practice
Kino Eye, Vertov, poster by A Rodchenko, 1924
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Eadweard Muybridge, Animal Locomotion, plate 133, 1887
Étienn Jules Marey, Chronophotographic Study, 1886
Étienn Jules Marey, Chronophotographic Study man pushing a cart, 1886
Étienne Jules Marey, Chronophotograph, 1884 man in suit with stripes walking 2
Étienne Jules Marey, Chronophotograph, 1884 man in suit with stripes walking
Marcel Duchamp, Nude
Descending a staircase, no 2, 1912
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Pablo Picasso, Guitar and Violin, 1912
Pablo Picasso, Het Absintglas, 1914 & Kop van Fernanda, 1909
As in all forms of journey, space is filmically
consumed
Domestic space bears the mark of history, Giuliana
Bruno
Giuliana Bruno, Atlas of Emotion, Journeys in Art, Architecture, and Film, Verso, New York, 2002
Such is the pleasure of haptic wondering
experienced by the film spectator: one
imagines oneself residing in a space, in
someone else’s place, and tangibly maps
oneself within it. The perfect architectural
dream is a filmic dream. Pictures become an
environment. Architecture becomes a Film.
Giuliana Bruno
Andrei Tarkovsky, Nostalghia
Andrei Tarkovsky, the mirror
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Palazzo Davanzati, Florence, 1330-1350
Florence Palazzo
Davanzati, Sala dei
Pavoni, 1395-1400
Jean Marc Ibos, Myrto Vitart, Palais des Beaux Arts, Lille, 1990-97
Tony Fretton, Lisson Gallery, London 1991
Andrea Palladio, Teatro Olimpico, 1580, Vicenza
Andrea Palladio, Teatro Olimpico, 1580, Vicenza, La Scena
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Benevolo, II, 777, Palladio's Teatro Olimpico, Vicenza
Andrea Palladio, Teatro Olympico, 1579, Vicenza
Giulio Romano, Palazzo del Té, 1526-34, mantua, voor en zijgevel
Giulio Romano, Palazzo del Te, Mantua, For Federico Gonzaga, 1525, facade detail
Giulio Romano, Palazzo del Té, 1526-34, mantua, tuingevel
Giulio Romano, Palazzo del Té
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Giulio Romano, Palazzo del Te, Mantua, 15227-28, Sala di Psyche
Giulio Romano, 14921546, Room of the
Giants, 1527, Mantua
Giulio Romano, Sala dei Giganti,
plafond, Palazzo del Te, Mantua,
1526-34
Giulio Romano, Sala dei Giganti,
Palazzo del Te, Mantua, 1526-34
Sergei Eisenstein, “Piranesi or the fluidity of
forms, 1947
An architectural ensemble is “read” as it is
traversed: “At the basis of the composition
of an architectural ensemble is the same
“dance” which is at the basis of film
montage.
180
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JJ Lequeu, Underground Chamber of the Gothic House
Balthazar Neumann,
Vierzehnheiligen, near
Banz, 1743-72
181
Balthazar Neumann, Vierzehnheiligen, near Banz, 1743, plan and section
Balthasar Neumann,
Vierzehnheiligen, Beieren,
midden 18e eeuw
Balthasar Neumann, Vierzehnheiligen, interior 1743-1772
Balthasar Neumann,
Vierzehnheiligen, interior, 1743
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Balthasar Neumann, Vierzehnheiligen,
interior, 1743-1772
Balthasar Neumann,
Vierzehnheiligen, interior, 17431772
Schönborn's Würzburg, 172 by Balthasar Neumann
Balthasar
Neumann,
Vierzehnheiligen,
interior, 17431772 02
Balthasar Neumann et al, Würzburg Residentie, 1720-44
Balthasar Neumann et al, Würzburg
Residentie, 1720-44, trappenhuis
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Balthasar Neumann et al,
Würzburg Residentie, 172044, Keizerzaal met frescoes
van GB Tiepolo
Baltahsar Neumann, Chapel of the
Wurzburg Residenz, 1732-44
Balthazar Neumann, Brühl, Scholss
Augustusburg, Trappehuis, 1741-44
Balthazar Neumann, Brühl, Scholss
Augustusburg, Trappehuis, 1741-44
Dominikus Zimmerman, Wieskirche, 1743, vanuit ZW
Balthazar Neumann,
Neresheim, 1745-92,
interior
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Dominikus Zimmerman,
Wieskirche, 1743,
interieur
Domenikus Zimmerman, Steinhausen, St
Peter und Paul, 1729-33
Charles Jencks over La Roche-Jeanneret
Asam, The assumption of the
virgin, Rohr, 1717-25
• Open the door, go under a bridge, and the tight space explodes
upwards and through punched-out voids that are mysteriously
backlit. Go across the triple-height space, look at the Purist paintings,
one of which you now seem to be moving through, turn left up a stair,
and survey the pure prisms from a balcony...
• ...Catch your breath, turn around, and proceed to the culmination, La
Roche's curved gallery... Mount the brown ramp to the left, to Le
Roche's top-lit library. The spatial sequence is remarkable and
remained a constant preoccupation of Le Corbusier. It also became
the stock in trade of subsequent Modern architects.
Le Corbusier, La Roche-Jeanneret House, Paris, 1923
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Le Corbusier & Pierre Jeanneret, Villa
Raoul La Roche, 1923-25 oostzijde
Le Corbusier & Pierre Jeanneret,
Villa Raoul La Roche, 1923-25 noord
vanaf BG
Le Corbusier & Pierre Jeanneret, Villa Raoul La Roche, 1923-25 noordzijde en
woonkamer
Le Corbusier & Pierre Jeanneret, Villa
Raoul La Roche, 1923-25 noord en villa
Jeanneret
Le Corbusier & Pierre Jeanneret, Villa
Raoul La Roche, 1923-25 Noord vanaf
overloop naar 1e verd
Le Corbusier, Villa La Roche 1923 09
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Le Corbusier & Pierre Jeanneret, Villa
Raoul La Roche, 1923-25 trap met
balkon op hal
Le Corbusier & Pierre Jeanneret,
Villa Raoul La Roche, 1923-25
woonkamer
Le Corbusier, Villa La Roche 1923 05
Le Corbusier & Pierre Jeanneret, Villa Raoul La Roche, 1923-25 woonkamer en
hellingbaan
Le Corbusier, Villa La Roche 1923 02
Le Corbusier, Villa La Roche 1923 03
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Le Corbusier & Pierre Jeanneret, Villa Raoul La Roche, 1923-25 hellingbaan
Le Corbusier, Villa La Roche 1923 04
Le Corbusier, Villa La Roche 1923 08
Le Corbusier, Villa La Roche, Paris, 1923-5, library
tenemos
homogenous space and heterogenous
space
the spatial working of the sacred and the
profane
The production
of social space:
Spatial Practice
Thinking about
space
Extracting
information
from space
Wells kathedraal, kapittelzaal, interieur, 1290-1300...
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Mircea Eliade, The Sacred and the Profane;The Nature of Religion; The Significance of Religious
Myth, Symbolism, and Ritual within Life and Culture, New York 1961
For religious man, space is not homogeneous; he experiences
interruptions, breaks in it; some parts of space are qualitatively different
from others. "Draw not nigh hither," says the Lord to Moses; "put off thy
shoes from off thy feet, for the place whereon thou standest is holy
ground" (Exodus, 3, 5). There is, then, a sacred space, and hence a
strong, significant space; there are other spaces that are not sacred and
so are without structure or consistency, amorphous. Nor is this all. For
reIigious man, this spatial nonhomogeneity finds expression in the
experience of an opposition between space that is sacred-the only real
and really existing space- and all other space, the formless expanse
surrounding it.
Mircea Eliade, The Sacred and the Profane;The Nature of Religion; The Significance of Religious
Myth, Symbolism, and Ritual within Life and Culture, New York 1961
When the sacred manifests itself in any hierophany, there is not only a
break in the homogeneity of space; there is also revelation of an
absolute reality, opposed to the nonreality of the vast surrounding
expanse. The manifestation of the sacred ontologically founds the
world. In the homogeneous and infinite expanse, in which no point of
reference is possible and hence no orientatior can be established, the
hierophany reveals an absolute fixed point, a center. So it is clear to
what a degree the discovery-that is, the revelation-of a sacred space
possesses existential value for religious man; for nothing can begin,
nothing can be done, without a previous orientation-and any
orientation implies acquiring a fixed point.
Mircea Eliade, The Sacred and the Profane;The Nature of Religion; The Significance of Religious
Myth, Symbolism, and Ritual within Life and Culture, New York 1961
For profane experience, on the contrary, space is homogeneous and
neutral; no break qualitatively differentiates the various parts of its
mass. Geometrical space can be cut and delimited in any direction; but
no qualitative differentiation and, hence, no orientation are given by
virtue of its inherent structure.
Mircea Eliade, The Sacred and the Profane;The Nature of Religion; The Significance of Religious
Myth, Symbolism, and Ritual within Life and Culture, New York 1961
religious experience of the nonhomogeneity of space is a
primordial experience, homologizable to a founding of the
world. It is not a matter of theoretical speculation, but of a
primary religious experience that precedes all perception of
the world. For it is the break effected in space that allows the
world to be constituted, because it reveals the fixed point, the
central axis for all future orientation.
Mircea Eliade, The Sacred and the Profane;The Nature of Religion; The Significance of Religious
Myth, Symbolism, and Ritual within Life and Culture, New York 1961
It is for this reason that religious man has always sought to fix his
abode at the "center of the world. If the world is to be lived in, it
must be founded-and no world can come to birth in the chaos of the
homogeneity and relativity of profane space. The discovery or
projection of a fixed point-the center-is equivalent to the creation of
the world.
Eliade, Mircea, 'The World, the city, the house,' Occultism, Witchcraft and Cultural Fashions;
Essays in Comparative Religions, Chicago/London, 1976
The manifestation of the sacred ontologically creates the
world. (..) So it is clear to what a great degree the discovery that is, the revelation- of a sacred space possesses existential
value for religious man: for nothing can begin, nothing can be
done without a previous orientation -and any orientation
implies acquiring a fixed point. it is for this reason that
religious man has always sought to afix his abode at the
'center of the world' If the world is to be lived in it must be
founded. (..) The discovery or projection of a fixed point -the
center- is equivalent to the creation of the world. Ritual
orientation and construction of sacred space has a cosmoonic
value, for the ritual by which man constructs a sacred space is
efficacious in the measure which it reproduces the work of
the Gods, i.e. Cosmogeny.
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C.S. Lewis
C.S. Lewis
Because the medieval universe is finite, it has a shape, the perfect
spherical shape, containing within itself an ordered variety. Hence to
look out on the night sky with modern eyes is like looking out over a sea
that fades away into the mist, or looking about one in a trackless forest trees forever and no horizon. To look up at the towering medieval
universe is much more like looking at a great building. The "space" of
modern astronomy may arouse terror, or bewilderment or vague
reverie; the spheres of the old present us with an object in which the
mind can rest, overwhelming in its greatness but satisfying in its
harmony. That is the sense in which our universe is romantic, and theirs
was classical.
C.S. Lewis, quoted in W.H. Auden, A Certain World, A Common Place Book, 1970
The Medieval Model [of the Universe] is vertiginous. And the fact that the height of
the stars in the medieval astronomy is very small compared with their distance in the
modern, will turn out not to have the kind of importance you anticipated. For thought
and imagination, ten million miles and a thousand million are much the same. Both
can be conceived (that is we can do sums with both) and neither can be imagined; and
the more imagination we have the better we shall know this. The really important
difference is that the medieval universe, while unimaginably large, was also
unambiguously finite. And one unexpected result of this is to make the smallness of
the Earth more vividly felt. In our universe she is small, no doubt; but so are the
galaxies, so is everything - and so what? But in theirs there was an absolute standard
of comparison. The furthest sphere, Dante's maggior corpo, is, quite simply and finally,
the largest object in existence. The word "small" as applied to earth thus takes on a far
more absolute significance.
C.S. Lewis, quoted in W.H. Auden, A Certain World, A Common Place Book, 1970
St Denis, Paris,1136?-44 (Choir)
originated as a small chapel at the graveyard of Saint Denis in
the 5th century.
During the Merovingian era (486-751) Saint-Denis became the
royal abbey church.
The 3rd Basilique was rebuilt in 775 of Carolingian era.
St Denis, Choir
Abbot Suger (1081-1151) began to reconstruct the church in
1137, completed west facade and narthex in the 1140 and
completed choir in 1144. He continued to reconstruct the nave
but he died in 1151 before he finished it.
The nave, including the upper part of the choir and transept,
was reconstructed probably by Pierre de Montreuil (about
1200-67) and others (possibly one of those was Jean de
Chelles; ?-1270) from 1231 to 1281
Eugène Emmanuel Viollet-le-Duc, 1814-79) repaired the
church from 1836 to 1846.
231
232
St Denis,
Saint Denis,
Kooromgang, tussen
1140 & 1144
Paris,
1140 – 1151 en later
ramen in lichtbeuk van het
midden- en dwarsschip
233
234
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Praag, Hradschin, Wladislaw Zaal, 1493-1515, door Benedikt Ried
Graz, dubbele
wenteltrap,
1500
235
236
Bernard van Clairvaux, 1120-1153, Troyes Kathedraal
Dagrooster volgens St Benedictus
Royaumont, Ile de France, latrines boven afvoer kanaal
Pontigny, Abbey, 1 van de eerste vier dochter abdijen
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Clairvaux Abbey, Champagne, Dormter van lekenbroedersgebouw,
Pontigny, Kooromgang, 11651200
Fontenay Abbey, Burgundy, France
De 55 kruiken van Vitruvius, Loc Dieu, Frankrijk
Fontenay, Marmagne Côte d' Or, Bourgondië, 1119, kerk 1139
Noirlac, Bruere Allichamps, Cher, 1136, 1150-1200
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Dom van der Laan, Vaals, 1956-70, Before and after alterations in the 80's
Dom van der Laan, 1904-1991
Dom van der Laan, Vaals, 1956-70, exterior
Dom van der Laan, Vaals, 1956-70, exterior
Dom van der Laan, Vaals, 1956-70, exterior
Dom van der Laan, Vaals, 1956-70, gallery
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Dom van der Laan, Vaals,
1956-70
Dom van der Laan, Vaals, 1956-70
Dom van der Laan, Vaals, 1956-70, Kerk
Dom van der Laan, Vaals, 1956-70
Dom van der Laan, Vaals, 1956-70
Dom van der Laan, Vaals, 1956-70
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Dom van der Laan, Vaals, 1956-70
Dom van der Laan, Vaals, 1956-70
Dom van der Laan, Vaals, 1956-70
Dom van der Laan, Vaals, 1956-70
Dom van der Laan, Vaals, 1956-70
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