This action might not be possible to undo. Are you sure you want to continue?
Stable URL: http://links.jstor.org/sici?sici=0889-3012%28199912%290%3A40%3C68%3AlTSOTS%3E2.0.CO%3B2-L Assemblage is currently published by The MIT Press.
Your use of the JSTOR archive indicates your acceptance of JSTOR' s Terms and Conditions of Use, available at http://www.jstor.org/aboutiterms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/mitpress.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission.
JSTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact firstname.lastname@example.org.
http://www .jstor.org/ Tue Feb 22 02: 12:20 2005
This flayed modulation of interior and exterior produces the effect of loose and sometimes surprising correlations between program and space or room. a proliferation of layers with no real center.the effect of having one too many or being behind the wheel a little too long.zones are those that are actually between programs (for example. the similar. In the IntraCenter (or. I am in perpetual motion.a hypnotic exhaustion of the visual field . the nested surfacesthat result from this ribboning of the vertical wrapper . In this way. that I would die if I let myself be drawn into the center of the fray. a prosthetic for the limp collective of the contemporary. but it gives me a feeling of violent almost vertiginous. Moreover. Thus the figures are programmatically indistinct. E. The figures appear. while the seemingly "exterior. The community center has become an almost laughable oxymoron in the last few decades. the enclosed . Somol The Seduction of the Similar "I know that the periphery is the only place I can be. A tank of material and programmatic transitions! the project approximates the body with- 69 . then suddenly east. where the resin-impregnated wood skin bends and crimps to support internal activities. This program is announced almost immediately at the entry facade." mat spacestend to be pure. by Ron Witte and Sarah Whiting of WW. all this demands a high level of tension. the interstitial yet figural art studio/broadcast room zone of the third level) or else support the poche (rest rooms. the coelacanth of contemporary spatial politics. They swirl. "1 Perhaps no other architectural and urban type has registered the postwar crisis of political and aesthetic representation more than the community or civic center. the project itself acts as a prop for the possible emergence of various singularities. go north. structural Voids). multiply. So. too.produce internal arrangements that move continuously and indistinctly from plan libre to raumplan and back. so successfully reanimates. perhaps better. a species thought to be extinct but for the thematic depths plumbed by the fantasies of New Urban rhetoric.that the IntraCenter. service/served. the weaving of the molded wood screen as it opportunistically exchangesfunction as exterior and interior envelope suggeststhat the free facade is in the processof becoming the free plan. Yet it is precisely this project .the facade emerges as a splint. Perhaps most reminiscent of the molded plywood apparati of Charles Eames. none of the individuals in the crowd remains in the same place in relation to the others. These parentheses are constituted by edges that produce a set of fuzzy figures or swing spaces. the becoming-similar of the IntraCenter produces an organizational mimeticism. for these beings are in constant motion and their movements are unpredictable and follow no rhythm.apparently "interiorized" .the reimagination of the linked sociopolitical and formalorganizational ambitions of modernism . but instead.the project operates most like the onion of Roland Barthes. The IntraCenter accomplishes this in part by replacing representational theming with material phasing. This is not an easyposition to stay in it is even very difficult to hold. and more broadly by abandoning the critical project in architecture. stairs. Kentucky. Architecturally. as criticality has become fully institutionalized in academia through a thirty-year obsession with the pursuit and reification of ditterence? The recent past of the community center hasfluctuated between desperately attempting to recuperate the lost unity of consensus(the monumental asvestigial relic of the civic) or simply collecting the fragmented autonomies of special interest groups (the infrastructural as service station for the social). happiness.Against the cult of the distinct.as the edges can be understood as aligned with various complements throughout the project. and disappear . the Intra Center projects the possibility for a politics of the like. and generally regarded as incapable of evolving new social or spatial organizations. Often.which the architects refer to as "spatial parentheses" . a mixed-use community center for Lexington. the community exists neither as an a priori whole nor is it constituted by identifiable and stable subparts. served spaces. Through this seeming endlessness. a plasticity with regard to figure/field. the PeriCenter). the perimeter is the center. but just as certainly if I let go of the crowd.R. pass through one another. Yet against these inverse but complementary programs of either imposing identity or exposing difference. and inside/outside.
WW IntraCenter .
assemblage 40 .
Perhaps most provocatively. and the sock as reversible surface. "3 When one enters a figure. in its most interior zone one is "outside. Affiliation in this community is always provisional and statistical.The differential structural system. Though this is an insight repressed via the liberal psychology and politics of American social statics. but there are particularly refined examples: 'high-society life' differs from 'sociality' in that it is closer to the pack. one is constantly passing from edge to center to border again. by the logic of the pack and the anomalous. a mobile element of the pack. disappears in the void of the interior landscape.the collection of figures (and their complementary interstices) acts as mechanical space for air circulation. High-society relations are never coextensive with social relations. Moreover. pack forms of interaction. Social persons have a certain envious and erroneous image of the high-society person because they are ignorant of high-society positions and hierarchies. This is the space of Sliders. You are not here. one is always redefining one's relation to the collective: at its exterior limit one is already inside." In both the sectional and planar promenade. "I know where I am. and material. pack. As Roger Caillois describesthe schizophrenic's experience. but I do not feel asthough I'm at the spot where I find rnyself. programmatic. The performative lesson of this organization is the recognition of social plasticity and contingency . Even 'mannerisms' (all bands have them) are specific to micromultiplicities and distinct from social manners or customs. wherever you go. undergoes a becoming-singular as the post-and-beam structural grid gives way to the figural network of the "wedge. where one travels neither through time nor space. the organization of the IntraCenter sponsors band.:" The organizational mimeticism of the IntraCenter produces the perpetual effect that. In terms of environmental systems. But the IntraCenter assumesno 73 . always aware that one is on the periphery of other activities. with the void figure as a megaplenum. Finally. a stochastic pattern of statuses. and tribe associations over the normative liberal integer of group societies or societies of conjugality: "Not only do there exist bands of humans. the very particular ambitions and projects. the latter generates an agitated exterior blind to its conventionalized organizational effects. they do not coincide. the Intra Center experiments with a different species of collective architecture. behavioral. one is actually departing a program.WW/Somol out organs: "the skin as envelop or ring. you are sure to be somewhere else. not simply the domesticated. While the former produces a manipulated ground surface typically incapable of resolving the vertical interface. but through virtual possibilities of social inhabitation. These phase transitions occur not only at the level of the spatial. social forms of civil society. In proceeding into and through the IntraCenter." which itself coalescesinto the solid "wall" of the superbeam. More than nested programs. a finer scale meshwork system that mimics the manner by which the dynamic array of the wedge emerges from the planar structure of the classicgrid frame. the IntraCenter presents us with ambient program. and finally returns to its trabeated starting point in the structural frame. or facade and plan. That the IntraCenter can solicit the effect of projecting an "entry facade" at all distinguishes it from the two currently dominant limit conditions of exterior practice: the confession of the arbitrary section (for example. the relations of force. Villa VPRO)and the compensatory gesture of spectacular massing (for example. one where the liberal antinomy of individual and collective is replaced by multiplicity. where all the same stuff is simply susceptible to varying pressuresand arrangements. Bilbao). but also in terms of the structural and the various mechanical and building systems. you are not alone. These dual possibilities of exposed programmatics (the stripped elevation as algorithm of interior requirements) and imposed figuration (sculptural massing accompanied by an otherwise uninflected shed plan) represent the two logical conclusions of the disjunction between skin and core. for instance."> The organization of the IntraCenter instigates wild. the hybrid "curtain-stud wall" undergoes a scalar micromultiplicity where what would conventionally be the panel of the curtain wall system is replaced by a system of ministuds. including one's identity as much as one's activity.the fact that things could be arranged differently.
among others. Architecture does not need to be an index (or dissimulation) of its difficult struggle for appearance: this commonplace is a mere residue of the process myth of the critical-representational economy of difference. Deleuze and Guattari. a celebration of the seduction of the similar. Provoking a continual bifurcation of intimacy and alienation. wood. "reading" form (and with it. Notes 1. tile. to get the job done without breaking a sweat. In this regard it is not surprising that the process obsession of academia appears histori- cally as the critical complement to the linear narrativities of theming found in normative. leering at a model sitting on the couch. but an environment for acting in. In fact. In place of the cataclysmic mathematics of the deep plan there are here the supple figures of the soft core: a box with in-grown figures. and that its singleminded pursuit represses other possibilities for architectural experimentation.WW/Somol fundamental skin and core opposition. but strictly toward the generation of anomalous ecstasy. projective practices venture to produce new subjectivities and related technical-politicalesthetic organizations. the slackened form of the discipline) as seduction scene: not architecture for paying attention to (not about its meaning). no lobotomy of interior and exterior. water. 30. Caillois describes mimicry (the loss of distinction or disappearance into the background) as a "temptation by space. 34. Plateaus. These provisionally aligned research and design agendas include. entropy: these are all aspects of cooling down. the effects of the IntraCenter are aimed not toward the production of critical exegesisor uncanny self-reflection. a demonstration of the potential promiscuity of the collective. desires. becomingsimilar. the former connected to a representation of the different and the latter committed to the same. but perhaps the only one within which a vision of a new collective might emerge. this "entry facade" itself is no mere exterior wall. eschewing the complex manipulations of the conceptual-formal or the belabored mannerisms of the technofunctional. This is architecture (or design. A Thousand Plateaus (Minneapolis: University of Minnesota Press. the hermeneutics of analysis and interpretation) is the dominant desired effect of architecture. like that pursued by the IntraCenter. in which the space-age bachelor-architect is putting a record on the turntable. structural. disappearance. rather than confirm existing subjectivities (the normative)." As one form of this temptation. the "loose-fit" of Stan Allen. and what Jeffrey Kipnis has dubbed the "critical lounge" of Pollari X Somol. or expose the ideological function of previous or existing models (the critical). for instigating new events and traits. a projective practice assumes that the critical is simply one possible effect. Such a background or ambient architecture mixes the intoxicants of the contemporary. setting the scene for diverse behaviors. The hot ambiguity or undecidability of architecture's optical-critical period is replaced by the ring-a-ding-ding of its aural-projective phase. an increasingly narrow gap today. projective practices engage a material specificity that risks disappearance. 2.a facade with neither face nor support . Roger Caillois." October 31 (Winter 1984): 30. market-driven practices. 29. the hypothesis is that the possibility for a projective practice today. A Thousand 6. While critical practices pursue immateriality exactly as they produce visibility (legibility). and demands. 5. Deleuze and Guattari. In contrast. the "seaeming" tactics of Mark Linder and Julia Czerniak. but more a paneled interior treatment punctured by a landscaped carpet . programmatic. "Mimicry and Legendary Psychaesthenia. In both cases. Loss of distinction. While the following will attempt to explicate this distinction. etc. 3. the "pliable edges" and "blank-out phases" of Mark Wamble. In this regard. Plateaus. For instance.this is a community center that swings. the "slacker urbanism" and quasi-forms of Ed Mitchell. needs to supplant the representational preoccupation common to both critical and normative practices. Quoted in Gilles Deleuze and Felix Guattari. stone. the work of WW exhibits a similar pragmatic jouissance and operational cool to that emerging within several recent practices. 1987).a subtle reshuffling of Mies's famous Resor House collage: an outermost surface of interior veneer combined with an exaggerated landscape element that penetrates its innermost sanctum.) operates halfway between the idiosyncratic applique of the suburban house and the encyclopedic catalogue of the shopping mall. a recent cover of Interior Design sports the famous forty-year-old photograph of Pierre Koenig's Case Study House #21. environmental). The motto of this work would be to make it look easy."Not yet another bleak commentary on the "loss" of public space. The IntraCenter is a box of phase transitions (material. a container of material samples whose excessivemix of surfaces (lawn. A Thousand 4. 75 .
assemblage 40 1. 11. 20. 2. 24. 6. 16. Pool below Indoor play area Day care Store Banking center Health clinic Receptionist Entry Library 19. 21. 26. 12. 18. 25. 17. 15. 22. Classroom Cafe Computer studio Police substation Conference room Practice rooms Administration Art studio Human services 78 . 5. 7. 9. 23. 4. 14. Fitness room Lockers Clothing annex Swimming pool Mechanical Check-in desk Elevator Gallery Multipurpose room 10. 13. 3. 27. 8.
Pat Michaux. pleted a house reduction © Assemblage Massachusetts Angeles. Massachusetts. and David Mohney. P XS. Somol teaches design and theory in the Department of Architecture and Urban Los Design at the University of California. Harvard University. 1998- ing teach architecture School of Design. E. Principal. Johnson Elementary School. His office. Dehart Project assistant: Matt Myers WW would like to acknowledge North. Dean. R. Coordinator. University of Kentucky. John Lexington. IntraCenter Initiative Susan Sarah Whiting. Kentucky. present WW: Ron Witte. College of Architecture 40: 68-79 © 1999 by the Institute of Technology 79 . has recently comin Los Angeles.WW/Somol WW was founded and Sarah Whiting bridge. in 1992 by Ron Witte and is based in CamWitte and Whitat the Graduate Project Credits IntraCenter.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.