form and social values. sensation. deconstruction. condition. articulation. without violence. classification.CONTENT THE MANHATTAN TRANSCRIPTS terms defined: definition. DEFINITION By arguing that there is no architecture without event without program. as they inset particular programmatic and formal concerns within both the architectural discourse and its representation. transformation. CONDITION The Transcripts take as their starting point today's inevitable disjunction between use. a new relation of pleasure and violence . notation. combination. They argue that when this condition becomes an architecural confrontation. relation. the Transcripts attempt to bring architecture to its limits.

and events. in a new relation of indifference. ARTICULATION The Manhattan Transcripts are not a random accumulation of events.for all inevitably intervene in the reading of the city. SEQUENCE Any architectural sequence includes or implies at least three relations. a composite succession of frames that confronts spaces. an internal relation which with the method of work. axonometrics. then two external relations. intervals. sequences . each with its own combinative structure and inherent set of rules. First. they display a particular organization. they aim to maintain these contradictions in a dynamic manner. movement and events are ultimately independent. It also proceeds from a need to question the modes of representation generally used by architects: plans. sections. spaces) is to introduce the order of experience. space and movement makes for the architectural experience. RELATION It is the Transcript's contention that only the striking relationship between the three levels of event. movements. so that the conventional components of architecture are broken down and rebuilt along different axes. NOTATION The purpose of the tripartite mode of notation (events. the order of time . one . Yet they never attempt to transcend the contradictions between objects. man and events in order to bring them to a new synthesis: on the contrary.inevitably occurs.movmetns. Their chief characteristic is the sequence. yet stand in a new relation to one another. CLASSIFICATION The Transcripts offers different reading of architecture in which space. perspectives. reciprocity or conflict. movements.

is about love and death.a field architectural ideologies have banished for decades . the other zith program. The first relation TRANSFORMATION The Transcript's sequences are intensified through the use of devices. rationality and anguish. COMBINATION By going beyond the conventional definition of 'function'. SENSATION If the programs used for The Manhattan Transcripts are of the most extreme nature it is to underline the fact that perhaps all architecture rather than being about functional standards. They isolate. PLEASURE The pleasure of architecture is granted when architecture . to question past humanist programs that strictly cover only functional requirements necessary for survival and production.that the definition of architecture may lie at the intersection of logic and pain. transference. such as compression. The concepts of violence also suggests different readings of spatial information . concept and pleasure of order. a reality waiting to be deconstructed . VIOLENCE Programmatic violence ought to be there a contrario.dealing with hte juxtaposition of actual spaces.and eventually transformed. frame. the Transcripts use their combined levels of investigation to address the notion of the program . insertion. and to favour thos activities generally considered negative and unproductive. the Transcripts generally presuppose a reality already in existence. etc. or rules of transfor. DECONSTRUCTION (FORM) Despite the abstraction of their devices. 'take' elements from the city.and explore unlikely confrontations.ation.

fulfils one's spatial expectations.' CHAPTER I DEFINITION terms defined: limits I. (architecture: a form of knowledge whose limits are constantly questioned. MADNESS 'In madness equilibrium is established.1.) . when the sensual pleasure of space conflicts with the pleasure of order. as well as embodying architectural ideas or concepts. beneath feigned disorder. with intelligence and invention. There is also a special pleasure to be mentiond: the pleasure that results from conflicts. but it masks that eauilibrium beneath the cloud of illusion. the rigour of the architecture is concealed beneath the cunning arrangement of these disordered violence. limit: a boundary.

Events can encompass particular uses.1. acts of love and the instant of death. a particular item in a program. disjunction:the act of disjoining or condition of being disjoined.1. movement III. event:an incident.3.socio-political structure? III. rather. a social product. separation. CHAPTER III CLASSIFICATION terms defined: event. space. space: a cosa mentale? Kant's a-priori category of consciousness? a pure form? or.2. disunion. They include moments of passion. the projection on the ground of a . singular functions or isolated activities. an occurence. . The relation of the terms of a disjunctive proposition. III.CHAPTER II CONDITION terms defined: disjunction II.

Also a particular act or manner of moving. (In a poem or narrative: a progress or incidents. conflict: most relations are complex. Such shifts are not without meaning. etc. between two parties and things.. IV.) CHAPTER IV RELATION terms defined: indifference. conflict IV. influence. reciprocity: the state or condition of being reciprocal. the quality of having plenty of incident. the shift inevitably suggests a critical statement about institutions.2.movement: the action or process of moving. CHAPTER V NOTATION terms defined: notation . indifference: the fact of making no difference. You can sleep in your kitchen. And fight and love. a state or relationship in which there is mutual action. giving and taking. correspondance. (magnetism: the middle zone of a magnet where the attractive powers of two ends neutralize each other. development of a plot.) IV. When the order of an 18th-century square is turned into a 20th-century revolt.1.3. reciprocity>.

Frames are both the framing-device conform. by a system of signs.1. notation: the process or method of representing numbers. VI.2. frame.V. distorts and displaces. that which constantly questions. then two external relations. Architectural sequences include at least three relations. while the framed material is conformist and orderly. an internal relation which deals with the method of work. hence. sequence. quantities etc.1. regular.and the framed material. CHAPTER VI ARTICULATION terms defined: distortion. Occasionally the framing device can itself become the object of distortions. solid . any set of symbols or characters used to do this. the other with program (occurences or events). VI. CHAPTER VII TRANSFORMATION . one dealing with the juxtapostion of actual spaces. First.

hence the items themselves collectively.the device: the action or faculty of devising. the architecture that 'speaks'. A narrative presupposes not only a sequence. a list of the items or 'numbers' of a concert etc. is a controversial matter. of any formal series of proceedings. the result of contriving... VIII. A program: a descriptive notice. contrive. to plan.terms defined: device VII. would space intersect with signs to give us a discourse? . think out.1.. ingenuity. a course of study etc. As we all know. as a festive celebration. Question: if such architectural narrative corresponds to the narrative of literature... but also a language.. an invention. invention. the performance as a whole. CHAPTER VIII COMBINATION terms defined: program.1. invent. narrative VIII. in the order of performance. b. a. issued beforehand.2.. contrivance. to devise: to order the plan or design of. frame. the 'language' of architecture..

CHAPTER IX DECONSTRUCTION (FORM) terms defined: reality. photography. but also developed from shot to shot so that the final meaning of each shot depends on its context. The perspecival image is no longer a mode of three-dimensional drawing.1. Any departure from primary forms as generators does not mean a return to historicism and eclecticism.2. Beyond a common twentiethcentury sensibility. these fragments are to be seen merely as part of the material of architecture . IX. it attempts to play with the fragments of a given reality at the same time as the rational structure of abstracts concepts. But. the cinema: The temporality of the Transcripts inevitably suggests the analogy of film. indifferent. spaces are not only composed. In neutral objective. Those fragments of reality unavoidably introduce ideological and cultural concerns. As opposed to the plans. Any analysis of the material of architecture may be perfomed through its documentation rather than through the material itself. while constantly questioning the nature of architectural signs. maps or axonometrics normally used in architectural notation. but the direct extension of modern photographic perception. far from constituting learned allusions to the past. the isolation of frozen bits of action. the photograph can then act as the origin of the architectural image. the perspectival description of existing buildings is concomitant with their photographic record. IX. cinema.3. Instead. IX. . both share a frame-by-frame technique.

Programmatic violence ought to be there a contrario. madness. with intelligence and invention. wars. the intersection of logic of pain. games. concept and pleasure. There is also a special pleasure mentioned: the pleasure that results from conflicts. mourning.CHAPTER X SENSATION terms defined: violence. but it masks that equilibrium beneath the cloud of illusion. 'In madness equilibrium is established. X. spectacles. perverse sexual activity'. cults.2. X. beneath feigned disorder. The concept of violence also suggests different readings of spatial function .1. as well as embodying architectural ideas or concepts. the construction of sumptous monuments. pleasure. when the sensual pleasure of space conflicts with the pleasure of order. the rigour of the architecture is concealed beneath the cunning arrangement of these disordered . rationality and anguish. X. and to favour those activities generally considered negative and unproductive: 'luxury. to question past humanist programs that strictly cover only functional requirements necessary for survival and production. The pleasure of architecture is granted when architecture fulfills one's spatial expectations.3.

violences.Foucault. Histoire de la Folie) .' (M.

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