Practicing Space

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Practicing Space

  1. 1. PRACTICING SPACE Prem Chandavarkar Space Collab 2 4 November 2009
  2. 2. <ul><li>KEY QUESTIONS </li></ul><ul><li>How can one talk about space in a way that is useful to design practice? </li></ul><ul><li>What makes space meaningful in daily life? </li></ul><ul><li>Is space purely a visual entity? </li></ul><ul><li>What are the various gradations of space, and what should these gradations mean to us? </li></ul><ul><li>What is the relationship between space and time in daily life? </li></ul><ul><li>How is design practice linked to spatial practice? </li></ul>
  3. 3. <ul><li>KEY QUESTIONS </li></ul><ul><li>How can one talk about space in a way that is useful to design practice? </li></ul><ul><li>What makes space meaningful in daily life? </li></ul><ul><li>Is space purely a visual entity? </li></ul><ul><li>What are the various gradations of space, and what should these gradations mean to us? </li></ul><ul><li>What is the relationship between space and time in daily life? </li></ul><ul><li>How is design practice linked to spatial practice? </li></ul>
  4. 14. PLACE PATH DOMAIN
  5. 15. PLACE: A “boundary”, a “centre” and a “spirit”
  6. 21. PATH: A “way” and a “goal”
  7. 25. DOMAIN: A conglomeration of paths and goals that forms a “whole” with its own “identity”
  8. 88. <ul><li>KEY QUESTIONS </li></ul><ul><li>How can one talk about space in a way that is useful to design practice? </li></ul><ul><li>What makes space meaningful in daily life? </li></ul><ul><li>Is space purely a visual entity? </li></ul><ul><li>What are the various gradations of space, and what should these gradations mean to us? </li></ul><ul><li>What is the relationship between space and time in daily life? </li></ul><ul><li>How is design practice linked to spatial practice? </li></ul>
  9. 90. Art as luxury object
  10. 92. The question ‘What is your book about?’ has always puzzled me. It is about itself and if I could condense it into other words I should not have taken such care to choose the words I did Jeanette Winterson: “Art Objects – Essays in Ecstacy and Effrontery”
  11. 93. The role of the artist is to see life clearly, and see it whole, and give to these airy nothings a local habitation and a name Faiz Ahmed Faiz
  12. 97. <ul><li>KEY QUESTIONS </li></ul><ul><li>How can one talk about space in a way that is useful to design practice? </li></ul><ul><li>What makes space meaningful in daily life? </li></ul><ul><li>Is space purely a visual entity? </li></ul><ul><li>What are the various gradations of space, and what should these gradations mean to us? </li></ul><ul><li>What is the relationship between space and time in daily life? </li></ul><ul><li>How is design practice linked to spatial practice? </li></ul>
  13. 98. <ul><li>KEY QUESTIONS </li></ul><ul><li>How can one talk about space in a way that is useful to design practice? </li></ul><ul><li>What makes space meaningful in daily life? </li></ul><ul><li>Is space purely a visual entity? </li></ul><ul><li>What are the various gradations of space, and what should these gradations mean to us? </li></ul><ul><li>What is the relationship between space and time in daily life? </li></ul><ul><li>How is design practice linked to spatial practice? </li></ul>
  14. 110. <ul><li>KEY QUESTIONS </li></ul><ul><li>How can one talk about space in a way that is useful to design practice? </li></ul><ul><li>What makes space meaningful in daily life? </li></ul><ul><li>Is space purely a visual entity? </li></ul><ul><li>What are the various gradations of space, and what should these gradations mean to us? </li></ul><ul><li>What is the relationship between space and time in daily life? </li></ul><ul><li>How is design practice linked to spatial practice? </li></ul>
  15. 111. Non-Local Geographies: Timeless Time in Spaceless Space – The Space of Flows
  16. 112. Spaces Emptied of Time
  17. 113. Spaces Differentiated by Time
  18. 114. Spaces Fixed in Time
  19. 115. <ul><li>SPACE AS </li></ul><ul><li>The product of interrelations </li></ul><ul><li>The location of multiplicities </li></ul><ul><li>Never fixed </li></ul><ul><li>Continually under construction </li></ul><ul><li>And continually under time </li></ul>
  20. 116. <ul><li>KEY QUESTIONS </li></ul><ul><li>How can one talk about space in a way that is useful to design practice? </li></ul><ul><li>What makes space meaningful in daily life? </li></ul><ul><li>Is space purely a visual entity? </li></ul><ul><li>What are the various gradations of space, and what should these gradations mean to us? </li></ul><ul><li>What is the relationship between space and time in daily life? </li></ul><ul><li>How is design practice linked to spatial practice? </li></ul>
  21. 117. <ul><li>CONVENTIONAL MODELS OF PRACTICE </li></ul><ul><li>The Creative Genius </li></ul><ul><li>The Efficient Organisation </li></ul><ul><li>Neither model is central to the discipline of design </li></ul><ul><li>The Efficient Organisation prioritises commercial externalities </li></ul><ul><li>The Creative Genius produces heroes and imitators </li></ul>
  22. 118. <ul><li>THE ETHICS OF AUTHENTICITY (Charles Taylor) </li></ul><ul><li>The quest to connect with greater horizons of significance is central to the human spirit </li></ul><ul><li>A historical progression in this quest has been to seek through: </li></ul><ul><ul><li>Received wisdom </li></ul></ul><ul><ul><li>Instrumental reason </li></ul></ul><ul><ul><li>Spaces of engagement </li></ul></ul>
  23. 120. The schizo (he who possesses).....too great a proximity of everything, the unclean promiscuity of everything which touches, invests and penetrates without resistance, with no halo of private protection, not even his own body, to protect him anymore. The schizo is berefit of every scene, open to everything in spite of himself, living in the greatest confusion. He is himself obscene, the obscene prey of the world's obscenity. What characterises him is less the loss of the real, the light years of estrangement from the real, the pathos of distance and radical separation, as is commonly said, but very much to the contrary, the absolute proximity, the total instantaneity of things, the feeling of no defence, no retreat. It is the end of interiority and intimacy, the overexposure and transparency of the world which traverses him without obstacle. He can no longer produce the limits of his own being, can no longer play or stage himself, can no longer produce himself as mirror. He is now only pure screen, a switching centre for the networks of influence. Jean Baudrillard
  24. 121. <ul><li>Is the practice a vehicle for the expressions of the creative genius, and for the delivery of architectural design services? </li></ul><ul><li>Or is it a sheltered space where a community can reflect on how to enhance its life through architecture? </li></ul>
  25. 122. <ul><li>Can one talk about the “practice of architecture” without talking about the “architecture of practice”? </li></ul><ul><li>Is the question “What is my philosophy of architecture?” the most important question? </li></ul><ul><li>Or is it more important to ask “Who is my friend – my fellow seeker – in my practice”? </li></ul>

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