Jonathan Glancey explores the relationship between poetry and architecture and wonders if contemporary architecture could be learn how to have a poetic vision? Read and Discuss
There is a studio at NJIT guided by Cleve Harp currently exploring the relationship between these two...excerpts from the syllabus:
Architecture and poetry share distinct parallels:
A discipline – Each entails a body of work, developed over time, and a tradition of practice, or praxis, that informs new efforts in the field.
A language – Each involves its own particular language and a particular way of using that
language.
A craft – Both poetry and architecture employ a set of tools used and applied in nuanced ways to produce highly articulated and out-of-the-ordinary effects.
Sensory experience – Each engages the range of human senses: sound, touch, taste, and smell, as well as vision.
Meaning – Each speaks to, and manifests, meaning(s).
Art – Each calls to a psychological and emotional reaction, or response, from the observer/reader.
Construction – Poetry, as well as architecture, is evidenced by a built reality, formed on the basis of rules which allow the structure to stand, and thus to function.
Enlightenment – Each proposes a new or fresh way of seeing and experiencing life, its
machinations and its vagaries.
This studio will explore these, and perhaps other, parallels. These investigations will inform the making of a building design.
What kind of balance is possible, or even appropriate? How can architecture highlight the
inherent tensions in the debate and perhaps forge a fresh approach to the often entrenched interests at play?
The proposal will be rigorous, specific to site, responsive to program, and exceptional, much as Poetry offers an exceptional, incisive, and highly specific take on the usage of language. The all important design process will focus on the conceiving of a design, the development of that design, and the making of a set of design documents which will outline, as a conclusion to the
Design Development phase, the architectural intentions for the making of a building. The
Vitruvian triad of firmness, commodity, and delight will be invoked as overarching goals in
addressing the challenge.
Oct 22, 08 4:26 pm ·
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4 Comments
Someone needs to tell this guy about John Hejduk.
we're talking about a different kind of 'poetic' than we talked about in architecture school, right? maybe there should be a distinction made:
poemic = related to poems?
poetic = related to making?
Interesting point Steven.
There is a studio at NJIT guided by Cleve Harp currently exploring the relationship between these two...excerpts from the syllabus:
Architecture and poetry share distinct parallels:
A discipline – Each entails a body of work, developed over time, and a tradition of practice, or praxis, that informs new efforts in the field.
A language – Each involves its own particular language and a particular way of using that
language.
A craft – Both poetry and architecture employ a set of tools used and applied in nuanced ways to produce highly articulated and out-of-the-ordinary effects.
Sensory experience – Each engages the range of human senses: sound, touch, taste, and smell, as well as vision.
Meaning – Each speaks to, and manifests, meaning(s).
Art – Each calls to a psychological and emotional reaction, or response, from the observer/reader.
Construction – Poetry, as well as architecture, is evidenced by a built reality, formed on the basis of rules which allow the structure to stand, and thus to function.
Enlightenment – Each proposes a new or fresh way of seeing and experiencing life, its
machinations and its vagaries.
This studio will explore these, and perhaps other, parallels. These investigations will inform the making of a building design.
What kind of balance is possible, or even appropriate? How can architecture highlight the
inherent tensions in the debate and perhaps forge a fresh approach to the often entrenched interests at play?
The proposal will be rigorous, specific to site, responsive to program, and exceptional, much as Poetry offers an exceptional, incisive, and highly specific take on the usage of language. The all important design process will focus on the conceiving of a design, the development of that design, and the making of a set of design documents which will outline, as a conclusion to the
Design Development phase, the architectural intentions for the making of a building. The
Vitruvian triad of firmness, commodity, and delight will be invoked as overarching goals in
addressing the challenge.
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