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  • McCARTER, Robert. The Space Within. 216 - Cap 1. The Space Within As The Origin of Architecture. Pp. 7-23

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    McCARTER, Robert. The Space Within. 216_Cap 1. The Space Within as the Origin of Architecture. pp. 7-23

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    76 views12 pages

    McCARTER, Robert. The Space Within. 216 - Cap 1. The Space Within As The Origin of Architecture. Pp. 7-23

    Uploaded by

    Kiomi Mv

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
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    bition isthe sol of arhitectre, This important and Jgifl Book one afte very fst to escuss the primal ure ofthe interior experience, which we beeve isthe Jace where design begins. The Space Within intites 3 vesation that eseetil 0 all who study practic, Tod Willams and Billa Tsien, architects uceint erudite study ofthe exparientia qualies and jeanings of nei space. Using Mis unique knowlecge the design work, writings ang thinking ofthe masters Jchiy recommended as signieant antidote o today's pals sestetiizaon and shallow sigtl ecstasy Juhani Pallasma,achtect and aunar of pe Eyes of the Skin: Architecture and the Senses NIHLIM 3DVdS 3HL THE SPACE WITHIN Interior Experience as the Origin of Architecture ROBERT MCCARTER | YSLavOOW 18380u THE SPACE WITHIN Interior Experience as the Origin of Architecture Robert McCarter ie by Ren Ban ad fest Wh ond eden 90% 08 Copy Robert Neca 6 ‘Alimagety nd 8 che Aor ee) [ore hs punn ay beep ore ns i pen noted ay frm bey men ens chi pening ‘wg oor wth ppm fe pba Pet sd bund Gi rnb} ana ado, Crm cli srk toi om th Bh hey sora 604 ont Contents Intuctan: Th Pinay at tar Experence AEC 7 ‘The Space win as mech ot Aeiectre = ‘te Neos finer npeence and the stance “ore Early Moserncarceptons inter Space 29 ‘The separate ats of mayo ane he By experience 52 ‘Te shape entero Space andthe Sourdaxy of Pace. 67 ‘te Society of Spaces ana neEnplacenent of ENCOUN 0 ‘okng Room for fxpevence and Menary 108 mtr expenencect te Exterior Emirnment 127 Cones: mtr Exgeenc as ntsion ard Bahan otarcntacture 367 Sibogrphy 5 Introduction The Primacy of Interior Experience in architecture “Throughour human hinory inrior spac nd is experince has served as bo he beginning the ina ispnon forte design ofarchiscture andthe end, he Binal purpose of arcicceae a8 ic inengged in nkabaion. Since the beinning ofthe Modern eto and coocnuing oda, poral dicavere in architect eign maybe raced hack 6 3 generative ef inmate itrioe ‘xpeenc, and the ui ofthe iterior pal experience of he inhabits may be shown co be bo the primary determinant ofthe schitcrraldagn proces and the means of apropri- sy ealating work of achitecrare frit bait Thi ook ‘plore how interior space har been intel othe development (of Modern architec from the lar #008 co day, and ove gettin of arches ave engaged wit iene pace and ie ‘experince intel desiga procee, cabling them wo fundamen tally tasfm the radon! methods and gol of archi ‘omposion. Fr tiny of te mos reogaaed and rept rchtec prctsng eda the concapon ofthe intro spe ‘rpenence continu o be the ecosary sein pine or design. “Maing oom for inbabason resins the primary esos co consrit works ofarchierare ‘Lets agin atthe belaning ofthe proces of eoncving ane -onsructng atchirecture. Te iil conepion af an archer ‘vod har mos often eigiated with wha rank Lloyd Wright calla th space wih, pally Innova oms have emerged tari inthe design process, ad are more powerful nthe ‘sprint impact, than the ener Forms that are eveaully {seine appropriate wrap or dad hem. Yet in onder make the case forthe primacy of th nie experience ty, we ned to counts our contemporary clara nd soci obsession with ‘ctor views and forms inthe reprsentaton of archi, nc highligh our ob fous onthe exer fem, and ‘urconchitan lindns to nee experience As opposed tothe dsancing ec ofthe purl visual perience of looking tthe eter fom of uldig, pling ii font of us aan thject for aexthee speculation, in our embodied experience of fm inceror pce the oom lirly rounds, engagig all tursenes ouch, ain, smell te and vison ~ creating the fling of embod, api intimacy and bringing things "What have bee recogited athe thee mos influential spatial iscoveri of easly Moder tchiecrare sil in use {Oday and ordering contemporary works ~al began with an inopiaion bout nero spi expeienc. Park Loyd Wrights “nen plan’ lieing ofthe Hoor and sing ha elated ily othe Eat Asan concep ofthe round plato and the oof canopy. was is ancl in designs whose exerior {appearance gies no indistion wharcever of he dynamic pata strut exiting within, In Ado Loos Raumplen (ror plan), ‘ach oom had it own proportions and postion in secon and tvs cll ntrelatd othe oter rooms of he house, esking in pla that were facture neo mull levels kind of incre ‘erin or tporaphy ln Le Causes plan ibe (ee plan, the floor ple wat acpi by Feely carving walls, which Formed interior spaces that Race ei lationship co each oh at ‘heinhabant mone thgh them on che promenade cite interior conception pa excellence, A sare chiracertic of the majority of spat cong merging inthe cay Mode movement shat they were al ‘loelopd in opposion tothe henominan manner of designing, Upuldig of the ole des Bea Are, wherein dhe paths ofthe je snd he bon flowing the movement route tothe desinaton, te excl the sume. Ye when the ey and he body are equally ‘ngiged, the eye and he vial sense invariably dominate the experience, nerpometing he othr, suber ess inching he “ya, hae sense of bodily postion n space In counter point thisvsial-cenrc apron cay Modern buildings the path of the ee and the path ofthe body are diferent. Rate than seing and moving along the same cena heough the same equence of paces, dhe inhabiane meanders in plan and ‘ection though che interior paces ofthe ung; the ele, ‘tmultancoaspercepion of the pace om vaved vewpoins was shared with comtemporacy Cabi painting. “The adton of architecture defined a ieror pace one ‘where the bulding may be sid 0 be conceived ot aan exterior Foum, but aa outer sie of ner space ~ cheater et ‘ofthe inhabited rom ~ in which the balding allows the inete place of experience ad inhabaton to unfold wich che iis, in boundary the outer forms. The rooms witha shoe ‘undies were reconceived apd edie by Louis Kan as ‘tvocey of pace allan tthe way in which the roms not ‘nly secumioste pie ies and Functions but make plese for unplinnod meeting and chance encounters the genetaors ‘focal and curl lations. hit coneprion recog that inthe end che moe importane nin of any billing isto ‘ich experience and enhance theif that aes place within "The inesir experience of cams that are composed of resco pce i once nina and immense, connecting us tothe cosmos atthe same momenta gods us inthe tactile touch, Acensnenet obo intimacy and immensity may be said to chance he moder cies whose wots remain in ‘ur memory duet he acute sensi the sbleie xptionc, The ess fom archtecs being depl aol inthe design of ineie sacs tat posses the ay oF ee inumensy connecting so cath ad ky and diane holon, a! enc rounding ur with appropiate sealed surices tnd deal chat we engage a fit hand and which impart immense spaces a tina, emboied sale “The wy archtecrre makes room fo expeence nd memory is exomplied in oom chat provide heir nhabants with a simultaneous sense of extending tthe drtan horizon and wihdeting inc clos place repose in ums anchored to theses and chesbyingrated in the story and nature of thas plae in oom rsonane with he memory oftheir mang, legible interact, mater and jlar in ooms brought toi by he play of igh shroughou he dy the eon and the ‘year andin roms led precy othe eal file tha take pic within ther. In thei recognition of the pimacy of he ‘experience of he ineroe oom, and ts impotance othe ing Fordhe daly suas and evens fi acitecs ae paraleed by Maser writes ned bythe way roo shape he ives end remote of authors andthe charctrt portrayed is Herta Tangy sem parsdoxic aS mention, bu the interior caperene of the exterior evizonment sci aspect of his oneepton of nie pinay in arcicecar. Architect whose inerioespcesfemain in our memory have invaiaby been scaly cstv to the lc climate, th coastan chang ofthe ‘ewons and alight, and she lange environmen a which the buding ipa and Bow thee maybe engaged to enich the experienc ofthe inhabits nthe pace within. Aldo van yk bleed hal inabie rooms even exerorooms efeitos andl ha al spaces designed Lbpmankind side or ove, ome or es re andarenaly conceived and experienced nei spaces. Architerre that les ea inter ehat grounded in its plac, cha ses minimal ‘resources an hat minimal impact on he envionment and that provides maximal engagement with ks environment and maximal Cauichment of experience or its inhabitants The nly appropriate way elute chicas through cour experience of with particular empha on the occupation ofa space, the method and mater ex onarotion tnd thi intereaionsip. er wile the ineior experience of bung ala maces vo thse wh inhabic bling, day Jets scemingly ofl and lester to many of those who design chose me buildings leis the eoateatian of dis book ‘hat achltecuraldsgn mus be re-grounded and edfned as primal abou the ier space and is expince, what eis like to ve insides bang and noe abou wha the exer fom ook ke fom the outset this undenandng, architec vial concerned nr with hac bulding loki but wi how a buildings spaces ae ordered co howe the acviies tha ake lice within; how a ullding engages is pice andthe biory fof human occupsion that ar ken place cere how ulin, sbi how ei seacrred and of wha mat ies made and ‘owl hese ast what sexpesened by thoe who inbabi “day we need relicover the ancient nigh that he interior experienc of habitaton i bot the beining and inion of rhiectur desig, 2 wel the end and evasion of every ‘work facies One The Space Within as the Origin of Architecture Since the hegnning of achive, pally innovative rooms Jive energie in he design proce and have been ore ‘owl in theless impact, chan che xen cha the cvennuly deemed appmpriat to othe them, Pree ely Insoreal xamples of pce dein limos ently as neior rooms would inl the cred, eve rrp paces 09 the land of Mal, n Ercan tombs ny andi kc temple a Alans, nda and Abu Simbel in Earp, all of which ae composed ofimerior spaces with no exer form other han the ety fade in the hilede These ancient carved paces ae pulled by construed spaces that, while bulk and not exce- ‘ated ar neverile ao experince a being caved interior pce, ncadig she alos entily nie abit ofthe Tac of Konstos a Cet andthe cy of Mycens in ancient Groce. A number of thei examples were created by cleats vith ourachal leaden structures, and the caved spaces ‘on Mala have been dsb at womb in experienc, the taebosicg and navn intor ces doce by tng Female quer, Many ater ancient buldings, while bu on the ground and prstentngexterioe fice, reves tha scl embedment Wiein the eth is or nccessy forthe constuction ofan allencompassng interior experience, The nested spaces of toe covuplee dates Formed by the rave sonewalled ‘uldings within buildings ofthe Temple of Hora 3t Ean Egypt wore the mot valued and sired paces of Egyptian sce. Paradoxical complementing the Egy aseshape inesors tne traitional Japanese badigs, ied above the ground and Consrcted of lightweight wood ames 2nd thn stens which reverts fem deep shadows and daknes in the domestic fmevor sacs within The rests interior pacemaking cle ‘emai the ancien Roman, ae epitomized by the Pantheon in Rome, where he mative, s-mete-hick wall Ike a hell mou, shapes the sphere volume ofthe interior space, which anchor tothe heen bythe cent ois marking the ass mand, and wo the earth by he convex or frming the nave ofthe wor This ‘gear of tooms makes psn the ancien Romans eosmelogcl ‘Sonception ofthe world aan interior pace andthe feof mankind 2s taking place whine This empha on the primacy of nein pace and Is experience the ug of archtcrare wa lb prsea athe vey bepaning of ‘Mose architssrur, Frank Llp Wight, whose wor inapied and Inte what would tr be ill Modern schecute, blvd has nein pace and no netoe or —wasinccebly bound ‘up wth direc experience and presence. Wight said tha the archl> ‘ects principal al was ro bl the oor, he spl room which ‘alc the space wii nish est ariel using the dein of Uni Temple in 906, In wring his Ax Autobiography in sia, Weigh nord “The ines space isthe realy ofthe bling The oom esl must come through racic has not ave «Arch {cert nor alone as Frm flowing fancon, bur once ‘sspuceenlse. The sched pce acl might now beeen tthe rely ofthe bulding --. The bung now became ‘tivtion of inion ace lghe.Thissenseof the within, ‘he room il [seas the gre ting be alized! le olding tha the terior pace mu come ero tha the ‘rior mist be moulded cantin and present dhe eso space, ‘Wig anged hatte intror pace mus take shape por the entero frm acitcrure mst be coneieda pce coed "The ei of he aiding does no consis the our alls a he oo bin che pace within tobe ved in” Wright argu paraphrasing line rom Th Bok of Tey Okakara Kaku, which ‘Wright ed we be ved in Japan in 197-23 la fring bison homes in Wiconsin nd Arizona, Wight often employed hollow veel ach age pote and aes, with hei sf enlosure ‘fan intr volun, ro complement the achitetre around her ‘Wight insight the eence ofboth the oom ad he ves re ie derived frm Olah parsphrasing ofthe ancient Chinese pose and plsopher Lao Tu (Lace, who nord: (aly in empcnes iy the tly etn, Theres ofthe vom, france, wis 0 be found in the waa pace enone lye roof and walls nein hero and walters. The ‘seflnes of water pitcher dele in the empinss where water snight be put aoc inthe frm of he cher or the materi of which tr made-Emprine ial pone becuse all omaning. Tnemptinet alone modon becomes posibe* The pce within thus understood exclave room make psible fox people co dvel ta ve, © move and to enc ae eas of day li Wight’ coneriporay and flow Chicagoan te American hiloropher Jan Dewey dened arckeceure the formation Finer spce x opporsun for movement and ation.” "Wight primary spl concep and encpe of dr which setoiyrecogiaed at imporane innovations inthe emergence (of Moder architect, were fist given bul fom throggh he

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