170 Conceptualism
170_Conceptualism
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Conceptualism is the alternative to structural logic, to relatively, turn things upside down sideways, and refer to relative existing forms, and typologies through relativism.
There are many ways to inform oneself as to how to tackle conceptualism, but it tends to be a phenomenon of induction to see a finished article, object, or artefact, through holism to create a finished product. The process remaining is to add all the remaining factors through its owned artistry.
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A study in object architecture based on a pure skin for a building, both, naked and pure in form and sexually robust to stand in line with nature, through natural law, yet conceived by a mind, makes itself godly and of a human nature itself, conceived as a connectionless: Object.
So, we need a hypothesis:
‘What is a connection and how can we avoid it to create a purity in form, with an emphasis on the pure form.’
We want to slot, slide, shuffle, and hang; to connect without connection, i.e.: fixture or fitting, but in its own process of making, and therefore will be cradle to cradle, not to build permanently for its site. In this context, a site is just a given piece of ground.
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Conceptualism tends to be a pre-conceived idea.
Is this contrived? And not developed from small to large to small scale, the natural zigzag thought pattern, or better for its holism of a vision of aesthetic pleasure, and therefore, could be described as a divine nature.
It is about spirit.
But it is also scientifically proven to absorb and reflect energy, once pared down to its essentials, and abstractly executed.
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So, it tends to be an intuitive pre-conceived idea, yet without being contrived, through its context of mind, as a concept this equals, the following:
1. Relativism.
2. Re-invention.
3. Re-interpretation.
4. Re-working, in its drawing.
5. Re-concretion in its building.
6. Re-consecration by the user.
7. Re-classify, architecture, to question its neo-origins.
8. Re-Founding as a result: ‘architecture in its fullest’.
9. Re-positioning, cradle to cradle, global.
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Like old jazz records we are going back to our roots, but the second element of ‘Re-invention’, makes a completely new third element of ‘Re-interpretation’, within the continuum of history.
It is young, playful, and childlike.
“There is only one way to make a jumper, but we can still play with the making through the re-invention of the weave, and it’s materiality.”
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During the Enlightenment, ‘reason’ was central. And the obvious criticism to conceptualism, is thus: “Is it just for the sake of it?”
It might be and it might not be, depending on the ambience, environment, light, shade, movement, detail, and ingenuity, that without conceptualism, we would not have the second element of ‘Re-invention’, and a kind of accidental genius of creation, without being ad-hoc. And if we do not know how to ‘Re-invent’, we have not progressed the phenomenon of Architecture as a liberal expression of the mind, and soul of the given Architect. Speculatively it works, but what about context?
Context has always been a trite discussion in my mind, as a non-given, because the seminal addition of conceptualism allows us to behave freely, and liberally to question existing phenomena, and to act on element seven: to ‘Re-classify’ architecture as an object of invention, and not as a sameness of construction.
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As a result of touching on the sameness of construction, we can identify the invention of the artistry of construction, plainly skinned, to create a new zeitgeist of neo-creation, closer to the divine, and better at efficiency in line with the Worlds, needs. Not to glue and bolt, but to slide, and slot; self supporting and congenial. Whole and complete, for fabrication, and disassembly in order that the building may be positioned anywhere in the world, and still function, despite, possibly creating a new concrete foundation, which takes on the role of a new edifice executed by another architect in its place, and only what is dug out of the ground remains, ready for re-executing a new building above, element 9: ‘Re-positioning’.
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The surreal is an abstract argument to the cause of conceptualism, but when, considered from the interior of its own context, the only context valid in order to re-assert order to the city, through its plainness and simplicity in form and façade, means it is built to be concrete, and therefore not surreal, but to go to the ‘amoeba’ form would be an order that serves as a direct response to nature, and not a Mindful, ‘Re-interpretation’, of ‘Relativism’, elements 3 & 1, respectively, to the existing built environment. Building is not nature, but put within the bounds of nature, and has its own laws.
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In elements 4, 5, & 6, we are ‘Re-working’, by line and following the Qi of spatial flow and corner to corner space and detail, in order to ‘Re-Concretize’ by way of simple, yet ingenious building constructs, in order to ‘Re-consecrate’ the user, into a divine space of authority of living, not disorganised, spatial mess, but smooth spatial flow, and satisfying spatial aesthetics, in the Japanese, and Swiss paradigms.
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Romans 14:19
Therefore, let us pursue the things which make for peace and the things which one may edify another.
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It is infinitum this method, and fun to do, it is a method of peace. To begin with a house and change it. To begin with a shape and use it. Or to begin with a detail as generator and simplify the construction of a new edifice. This is to edify: to build and make, to instruct and improve.
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Conceptualism in essence is the ‘Re-working’, element 4, and ‘Re-founding’, element 8 of Architecture itself, to give it its own laws within solely its own context as a stand-alone seminal work, of a vision of the future. It works, I think you will agree, when you have a go yourselves.
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This is about re-inventing detail.
Thank you.
Andrew x
