2024-04-26T02:41:04-04:00 https://archinect.com/blog/article/86328444/the-aesthetic-of-the-machine Joseph Raffin 2013-11-11T23:21:00-05:00 >2013-11-12T18:12:38-05:00 <p> <img alt="" src="http://cdn.archinect.net/images/514x/4e/4erxojw4h7kcy66g.jpg" title="">My readings of Jean Baudrillard and Francesco Proto about the Pompidou Center have been something that underlies many of my ideas.&nbsp; He refers to the building as a kinda of monument (or anti-monument) to the ideas of late modernism.&nbsp; Beaubourg has become a pure object, aesthetisizing the machine.&nbsp; He describes the building as being unwrapped - an unwrapped object.&nbsp; The building has been stripped of it's facade allowing it to become solely and expression of it's internal workings as a smooth agent of circulations steps up and across it's facade.&nbsp;<br> The object of the structure has become the sign of the structure as well as the sign becoming the object.&nbsp; The sign and signified are one in the same.&nbsp; The building symbolically folds in and out of itself continually. It is almost completely autonomous. There is no reading other than the workings of the machine itself.<br> Beaubourg is a daunting expression.&nbsp; Baudrillard describes it as a machine or thing that devours cultural energy.&nbsp; France...</p> https://archinect.com/blog/article/84993724/the-aesthetic-of-the-machine Joseph Raffin 2013-10-25T16:20:00-04:00 >2018-01-30T06:16:04-05:00 <p> <img alt="" src="http://cdn.archinect.net/images/514x/58/58xyd3ezz2ubx18c.jpg" title="">I would like to prematurely call my thesis, &ldquo;the crisis of aesthetic&rdquo;.&nbsp; This is because throughout my research I try to deal with the new paradigm and the future of architectural language as the basis of my interests.&nbsp; The term &ldquo;crisis&rdquo; is in reference to a few situations.&nbsp; The first being my own crisis, embodying a personal pursuit to answer various fundamental questions held from about the second year of my education at the university.&nbsp; One could see this as a soul searching procedure.&nbsp; The second crisis is the precarious situation of the contemporary aesthetic which I hope to illustrate here soon.&nbsp; The two crises tend to fold in and out of each other.</p> <p> I&rsquo;ll begin with the personal endeavor by asking two questions I have formulated over the past few years. The first being, &ldquo;Why does Rem Koolhass, in the Areen Lecture series of 2010, idealize the Parthenon?&rdquo;&nbsp; The second being, &ldquo;Why does Peter Eisenman, in an Architecture Association critique, stand behind Classicism as a necessa...</p>