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The careful and calculated observation of nature and that of seeing things around us (john berger: ways of seeing) with watchful and trained eye, is a necessary and important lesson to all architects, designers, poets, and the intellectual, a concept well known to all and which phenomena has been the teaching of great masters bestowed upon the fortunate student, who sought wisdom and enlightenment, knowledge and expertise. Yet we argue that with too much speed and motion all image becomes blurred and illegible to the eye and thereafter less to the mind and intellect to absorb and engage. Also like making of wristwatches, if you make one hundred of them in a day, chances are the detail is slight, and less involved than say if we make 5 of them in a year, either you build a rolex or you settle for a casio. Speed has something to make of the kinds of possible intimate observation, and the level of engaging detail, and of the depth and quality of our real life experiences, of that which we wish to contemplate, study or address. This object might be a public square, it might be even an entire city or a small chair, all of varying scales ofcourse. On a moving train, the visual experience is often limited, the passenger has narrowed his opportunities to engage the passing and fleeting landscapes, whereas there is more contact and detail leading to intimacy with the elements if one had chosen to walk the fields. Following this argument, it means that if we could slow down everything, from how we walk, think and do anything at all, there is potentially much more that can be observed and engaged or absorbed or learnt, depending on the first motive obviously, but generally there is much more to gain in doing so. When stopping completely, instead of just slowing down, as when we do when we look at a work of art, the experience is locked in, right there on the canvas, still, not moving and in the case of a sculpture, into the stone, carved, shaped and engraved, stilled. Arrested. But when we start to move…like when we do when we walk around and within our buildings….and not slowing down enough or stopping to see where we are, it can seem all slightly lost, melted and not totally captured into the space, we understand less, we see less, and we feel less, and we cant read. Hence we have, for instance, at the courtyards, and in public squares, one type of experience, and through the linking corridors, and when we trespass or venture across and between realms of space, there is another type. Albeit, we have the state or passive rooms versus the dynamic or active passageways, the two opposing spatial dynamics complement each other. It is not enough to slow down, we need to stop completely.

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