建筑之声 Architecture Muette baukuh 未来，人类将进入以技术设备为导向的城市，一种全新的未知性也随之而来。事实上，在完全通过数字标签映射和评价的城市中，建筑可以从表达的欲望中脱离出来。由于没有人需要从外观上辨认法庭、博物馆和监狱，建筑物可以被简化为纯粹的空间表现，并且在没有任何轴心、立面和象征意义的情况下堆叠。建筑只作为简单的空间景观。所有关于建筑语言的误解都可以消除，我们终于可以实现印度建筑历史学家詹姆斯·弗格森提出的毫不妥协的纯洁和光荣的残暴：建筑无需模仿，无需说明，也没有故事；它只需通过无声的野性即可清楚表达快乐或悲伤的情感。
As human beings will move inside of the cities of the future guided by technological devices, a possibility for a new innocence appears. Indeed, in cities that are entirely mapped and commented through digital labels, architecture could be liberated from its desire to speak. As nobody will need to recognize the Law Court, the Museum, and the Prison from their exterior appearance, buildings could be reduced to their pure spatial performance and be accumulated without any interest for axes, facades, symbolism. Architecture becomes simple spectacle of space. All misunderstandings about architecture speeches can be over and we could finally move to the uncompromising purity and glorious brutality once proposed by the historian of Indian architecture James Fergusson: Architecture imitates nothing, illustrates nothing, tells no tale; it barely manage to express an emotion of joy or sorrow with the same distinctness with which they can be expressed by unphonetic brutes.
Baukuh presents two square 3-D printed bas-reliefs made of plastic and painted with glossy red lacquer. The first one contains a list of names of hundred buildings, the second one is a model in scale 1:500 of the same buildings arranged on a 3x3m square surface. The models are casts of the interior spaces of the buildings, realized in the manner of Luigi Moretti’s models published in “Spazio” in the fifties. As such, the models provide a rough description of the buildings as pure “containers of space”. Accordingly, the buildings are selected among the most spatially impressive (both in terms of articulation and sheer scale). As a result they are mainly Roman/Byzantine/Renaissance and not Gothic/Neoclassical/orthodox Modernist. All buildings belong to a shameless Eurocentric canon – a canon that has been imposed worldwide by Modernism and ended up erasing all other possible repertoires. As much as we might dislike this, this rather reduced canon is what is thought in all contemporary schools of architecture and provides the unavoidable starting point for all possible experiments in future architecture. Anyhow, the canon doesn’t really matter, important is to have something to start from and the intelligence of the new operation.
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