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Theme 2 Craftsmanship: Intelligence and Making, the idea of love in

architecture jctv

Wanda Landowska’s hand

the

argument

In what ways do we capture experience?

in experiential terms words are rather poor

Pictures and words and all that..

Fan Kuan 1000-1031, Travellers Among

Streams and Mountains

Chengde, Hebei Province, Pule Si

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Tung Chi’i Chang: “Painting is no equal to mountains and water for

the wonder of scenery, but mountains and water are no equal to painting for the sheer marvels of

brush and ink”[1]

Someone with a small vocabulary has a small capacity for expressing his experience in words and a small

capacity for processing and nuancing that experience.

But this means very little. He is still capable of having that experience…

Someone with a university education, according to research

done in1995 article has an average vocabulary of 8000 words…

With this he is able to describe and process his experience. This means he can only describe his experience

selectively

He can describe every and any experience, perception, feeling but

only on the basis of a selective process: he selects for his description what he finds

important and what he has words for

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The whole of his experience is always larger and yet his

description is also richer than the experience itself, it is received in

the context of the receiver’s experience and appropriated

What you cannot capture in words, still remains part of your

experience. What does this mean? It does not mean that words are

useless, it means that words cannot be expected to capture

everything of bodily experience.

Body [AND] Environment

I = me and my body in my environment

The case of the common seasquirt (zeeschede, genus Ascidia)

Thinking presupposes the body.. But how?

That brings us to the peculiar intelligence that is craft or techné

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Craft (ambachtelijkheid) or techné, is bodily experience and bodily

intelligence in the making of things: knowing what you are

doing without necessarily being able to capture the whole in

words…

So what is this craft intelligence? the art of thinking about the

making, the love of precision, the feel of having got it right, the desire for perfection, craft is

thought of the practised body

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OED: Craft Noun & Verb

noun • an activity involving skill in making

things by hand: • the craft of cobbling • [in singular] the skills in carrying out

one’s work: • the artist learned his craft in Holland • the members of a skilled profession. • (the Craft) • the brotherhood of Freemasons. • 2 [mass noun] skill used in deceiving

others: • her cousin was not her equal in guile

and evasive craft • 3 (plural ) a boat or ship: • sailing craft • an aircraft or spaceship.

verb • [with object] • exercise skill in making (an object),

typically by hand: • he crafted the chair lovingly • (as adjective, with submodifier

crafted) • a beautifully crafted object • figurative • Crichton knows how to craft a tale,

one that keeps the reader turning the pages

• (as adjective, with submodifier crafted)

• a carefully crafted peace process

Jean Luc Godard Alphaville, L’amour Love

• agape, (ἀγάπη agápē) love of the soul • eros, (ἔρως érōs) passionate longing passionate love, with sensual

desire and longing. Plato refined his own definition. Although eros is initially felt for a person, with contemplation it becomes an appreciation of the beauty within that person, or even becomes appreciation of beauty itself. Eros helps the soul recall knowledge of beauty and contributes to an understanding of spiritual truth. Lovers and philosophers are all inspired to seek truth by eros.

• philia, (φιλία philía) dispassionate virtuous love, was a concept addressed and developed by Aristotle. It includes loyalty to friends, family, and community, and requires virtue, equality, and familiarity.

• storge, (στοργή storgē) parental love • xenia, (ξενία xenía), hospitality • theoria

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TheoriaTheoria (θεωρία)

Theoria stands for

Passionate Sympathetic Contemplation

Hamlet: What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god! the beauty of the world, the paragon of animals—and yet, to me, what is this quintessence of dust? Man delights not me— nor woman neither, though by your smiling you seem to say so. Rosencrantz: My lord, there was no such stuff in my thoughts. Hamlet Act 2, scene 2, 303–312 30

Eros Diodima, the midwife, describes eros as a half god. His father was “Contrivance the son of invention” and his mother was “Poverty” who schemes to lie with the drunken god and begets Eros. Eros halfway between man and god spends his whole life struggling through cunning means to possess that what he desires. Love is the active agent in your struggle to achieve your dreams.

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filosofie = philia sophos: a method to love wisdowm

Spinoza

• To love is to take pleasure in seeing touching feeling, knowing or imagining, (André Comte-Sponville after Stendhal.

• Desire not a lack it is capacity, desire is the very essence of man and desire is a capacity, a power we have. Love is a joy

• Depression and disgust happens not when we desire, but when we lack desire…

• To love is to derive pleasure and joy from something.

The art of bestowing thought

the

evidence

Or the bodily geometry of love

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Into Great Silence

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Andrea Palladio, High Altar of the

Cathedral of Vicenza, 1534-36,

may be earliest work

AWN Pugin, St Giles, Cheadle, Staffordshire, 1840-6

Donato Bramante, S Maria presso S Satiro, Milan,

1480, apse

Etienne-Louis Boullée, Ontwerp voor een Metropool, 1781-82, interieur

Filippo Brunelleschi, Capella dei Pazzi, S Croce, 1430 Brunelleschi, Oude Sacristy, San Lorenzo

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Guarino Guarini, S Lorenzo, interior, Turin, 1668-87 03

Jacques-Germain Soufflot, Panthéon, Parijs, 1757-1790,

Binnenaanzicht

Andrea Palladio, High Altar of the Cathedral of Vicenza, 1534-36,

may be earliest work

AWN Pugin, Contrasted Royal Chapels, Contrasts, 1836 and 1841

Antonio Beduzzi, Hoogaltaar te Melk, 1727-35 Asam, The assumption of the virgin, Rohr, 1717-25

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Francisco de Hurtado Izquierdo, Granada, sacristie van kartuizerklooster, 1732 Narciso Tomé, El Trasparente, Toledo, 1721-32

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Baltahsar Neumann, Chapel of the Wurzburg Residenz, 1732-44

Shaker, Meeting House, Pleasant Hill, Kentucky, 1820, meeting room

Shaker, Church Family Dwelling, 1830-31 Hancock Mass meeting room

Libera, Exhibition of the Tenth Anniversary of the Fascist Revolution, Sacrario, 1932

Alvaro Siza, Church, Marco de Canavezes, POrtugal, 1990-96, interior

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John Pawson, Novy Dvur Plecnick

Le Corbusier & Iannis Xenakis Sainte Marie de la Tourette, 1953-61, crypte

Berthelot, Haiti, House

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Pocomania Altar, Jamaica, 1997 Jamaica Journal, Vol 3, 1969, Pocomania Altar, diagram by E S

Linda Butler, Tokonoma with scrolls

Myokian tea room, Taisan, Oyamazaki

Town, Kyoto

Imperial Palace, Kyoto, stone

garden

Gian

loren

zo B

ernin

i, The C

athed

ra of St Peter

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Tadao Ando, Soseikan Yamaguchi House and

Teahouse, 1981 Shelves

Tadao Ando, Soseikan Yamaguchi House and Teahouse 3, 1981

Tadao Ando, Soseikan Yamaguchi House and

Teahouse 2, 1981 Shelves.