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    Kipnis - 1988 - Form of Irrationality

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    229 просмотров2 страницы

    Kipnis - 1988 - Form of Irrationality

    Загружено:

    lmn_grss
    Kipnis - 1988 - Form of Irrationality

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    © All Rights Reserved
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    1988 JEFFREY KIPNIS Forms of Irrationality Primary an educator ord theo fey Kai has ugh Theory ‘on Design at On Sta Unies he Department of Arcee ‘ure ona the Acie Assacianan London He aoa membe ofthe fir Site and Kips, based in Los Argos. This text a version of pope fist devred to 2 conference on crchtectat theo brie apps @enetaline ope 10 « eign a eet, Setkrg der and anscen ee sources of esiance fo var an i the design paces. seems we are pesented with a dilemms. Ifthe growing ielevance of achitee- tures the result of systematic repression, den i seoms that che principal vector forthe prsstcnce and dissemination of that repression has ben rational design ‘ory. This is true even when theory i that form has taken upon itl the sel ‘eflexive problem, As we have seen, ational discourse canot give form co the rnecesaty question “whit (the for of tatonaity” Trationality an al of ts ‘conjugates ambivalence, multivocality.simultanity the mystical and sofort = se collectively that which resist and exceed the rational for of ‘what 8? In short, there can e no prospect, in terms of theory of design, of an “improved Aiscourse’, of more rigorous discourse’, whether sich phases mean “more Uke piloophy", or more objective historiography’ ‘more sensitive tothe visual esthetic perception ofthe objec’, more scilogicallysesponsibe' or whatever other entera might be applied ian fort to resolve this dlemms, le us begin 1 pay attention to logical necessity If 0 practice fas ver heen faithful to the model of rational discourse, itevery design exceeds it principles, andf his condition snot merely stores! but constistionl then what at fault 8 other the discourse nor the practice, but the model ofthe relationship between the to Te raionalst ode is aleady iaione, Ths, srcly speaking, the moment of design architectural discourse isnot and has never been theory or history a all: onceit movesto the question of| design, its nothing other than and noting less than the morality of the desizn proces, pining of erisson for some forms, sutaces, and materials, 2 prohi bition against others tn terms of design, i 8 therefore nothing ether than and rothing les than the design process itsel. 288 Theorles and Manifestocs ‘This condition, which in different words says tht while the ae st wil always design for good reasons there ae no good reasons for design. has upon scrutiny ofthe history of design rationales, aleays persisted, from Pallaio to (Corb What is propose as diferent today i tha we hive come tom point where the exo correlates of design rationales, the good, the rue and he eutif, are themselves suspected as sources of esstnce, Those corals do not exit 3s ‘uch but ae merely the forms by which negotiation is always lea atiate by the architect nthe design process “The goal fora desig theory that explores the proposition in question must, be to defer as long [as] possible andor dilate as thoroughly as possible the inev- table encroachment of the ego's demands of negotiation into the design proce. At the moment of design there can exis no autenie authority, No ethical nor imperative, no ploy oe precedent no curler esthetic responsiblity rightly resrsne the explortion into possiblities of eceupying material form, But design is lwayn an eg0 proses: it depends on the operation of authority through te architect and this is lways steady conditioned bythe consrints of egotaion ‘Te as snow to overcome the double bind, to develop design process that ue or defer the consists of negotiation atthe Level of the tational es corelats Currently, woctasses of such design processes, which term abun and sud, bold out promise to accomplish this goa Both absund and surd mean ational, absurd, in the sense of wey sone: es, logical or untrue, sain the sense f incapable of being spoken In absurd processes, the operating principe tha, while the ation of ach tectural logics suspect in its thority, evertees te form of design logic ea be nsitined ffcaiousy ithe sources of its motives ander fo evaluation are Asplaced oom the tradition of architectural decision-making, Tavs pseulo- ‘atonal metho ae muintained but the specific context, the soures of nial con- tions andthe extern for esting progress indesign the proves, spaced rom trdtional architcrrlsoucos. Far example, inthe Eisenman Boventm oes, ‘hein formal conditions were create by exeuing forms 46m fom biologi ‘al symbols. These were then operated on with an amalgam of processes drawn from DNA replication and fractal genmetry. Design progress wa jg, lest inal by the extent to which he formal meipulatons analog he hortowed processes and achieved new reletonshipsitisi to those processes. As design proceeded, negotiation constrsnt were factored int the developing dean New Modern 289 In sand processes the focus is ton displacing architectural rationality in de- sign, buon silencing tas muchas possible soa to allow teenie sel rather tan the rational achitectral ego to govern the design The operating pincp of sunt processes drives fom the fetta the architectural epo i bat a rediced ornare Stic subst ofthe ente self ofthe architect. Ths the propio so construct processes tha restore the architecturally disavowed aspect oF the ssf a architec- tural design by suppressing he fodhos fr architectural tional, The theme y objectification without eionalzation unde the assunption that rationalization — ‘through geometry, for example ~ is butane process by which objciiaton ean ‘These processes typclly begin iter hy choosing an extemal, sam architee- ‘wal “bjet painting, poem, ist of won wy to Behave oF the he and pliysieaizng the coat’ of thst source object. olin Hejh’s work sa well-known example of such methods. Alternatively, nt Obes canbe “prepares in such ‘way as tremove all familiar arhitstral oabolds. Te design proces cap be described asthe construction of specifi etal by which he architect objectifies snd material. These design proces(e]... ae eatied tothe pont of addressing negotiation constraints gs well (ppLS9-162) rac Sauce: jin Whiteman lefiey Kons and Rad Burt (ed) Seana ‘Arete asing Chex ei or Artec an Uti, MIT ress Caroie, ass 1982 © Chageitute of Artec and Uri, 290 Theories and Manifestocs 1988 MARK WIGLEY Deconstructivist Architecture The esscy fom which base axvots were token was ne the otalgue fr the exhibition ofthe sare ie, el atthe Mucewn of Mecesn Arn New Yr in 1988, The dcr one goes ctor wos one ater than Phi Jhrsan wa, more than iy years eae, ws corte ofthe lcernanal Sie edhe” tht a 0 muck ‘to papuanse ladon ia he Une is Whie he Deconsi. exhibition ci ror hae the same inp i de ae the vy of {he se ans practioner. Mark Wigtay was Associote Cuatarof the exhibition Deconscuction isnot demolition, or dissimulation, While it diagnoses certain structural problems within appazenly table sractres, thee flaws donot ead to the structures collapse. On dhe contrary, deconstruction gains i ore by cle leaging te very values of armons, unity, and stability, and proposing nscad 8 ferent view of stuctre: the view tat she laws ate itisie wo the structure. ‘They canot be removed without destoying i they ae, indeed the steture ‘A deconstrvtvist architect i therfore not one who dismantle buildings, but one who locatsthe inherent lemmas within buildings. The deconstructvist architect puts the pure forms ofthe architectural waition on the couch and dentfes the symptoms of repressed impart. The impurity i drawn to the surface bya combination of gente oaxing and violent trtre: the form i in ferrogatod..- (pit) Ineguler geometry is... understood as «strc contin ater than a 8

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