Diana Agrest in her study talks about the “imaginary zones” that are a common binding force of each culture. The article concerns with both the theme of inclusion and exclusion (or repression) and also the role of the sex in this system. In this case, first she explains that “inclusion and exclusion are parts of the same construct” (173). She goes on to discuss the two ways that the logic of architecture repressed sex, according to her theory women were assigned the negative term and men were the positive.
Agrest goes on to explain the logic of her theory sighting an example of the renaissance architecture that was based on “The Vitruvius Man” which was seen as an important sighting of of male-anthropomorphism in architecture. While the woman’s body was completely excluded, thus coining the woman to be the negative aspect of the spectrum.
In response to Filarete’s analogy Agrest argued. “If the building is a living man, the next necessary step in the argument is its conception and birth…someone has to give birth to it. The figure of the architect becomes feminized in the act of procreation.”(181). She tried to break away from the thought process that stated that “Man’s body is functionally transformed, feminized, in the production of this architectural analogy.”(184)
While the Vitrusuis theories that dominated the architecture dialogue for centuries, The prejudgment manifestation made women repressed these preconceived theories of women in society as ‘Wife in the Kitchen, Whore in the street’ lead to a very evident exclusion of women from classic architecture
1) If the user of the architectural form was not gender biased ,why was the inspiration?
Haraway in her article discuses Dupont’s Oncomouse the mutation of an ordinary mouse whose natural habit and evolutionary future is constrained to the world of the laboratory (pg 39), and how this mouse was used as a metaphor to fight against cancer , the Oncomouse serves as both a “weapon for ‘stalking cancer’ and a technology (pg 39).
She also discusses the “White Rabbit Campaign”, the rabbit like the mouse are considered cybernetic. She states that man too has entered within the culture of techno-science. And goes on to map how humans will begin to lead an un-human life.
She closes the article by leaving an open ended thought of is man too going the oncomouse way and what action must be taken to prevent the same. Is this shift from the human world to the virtual world the only way of progression from here?
1) What are the ways for man to not exit the current space we inhabit and enter the virtual world
Peter Eisenmen discusses the paradigm that took place during the Second World War that should have profoundly affected architecture this being the shift from the mechanical paradigm to the electronic one.
He explains that a photograph can be developed with more or less contrast or clarity. The photograph may be said to remain in control of the human vision, while the human subject just remains a mere interpreter. He futher explains that architecture assumes sight to be natural to its own processes, but this traditional concept of sight is precisely what the electronic paradigm questions (pg 557).
Eisenman defines sight traditionally in terms of vision and says “the molecular vision of a subject in architecture allows for all projections to be resolved on a single plain meter surface.” Vision to Eisenman is an organization tool for basic elements.
“The interiority of architecture more than any other discourse defined a hierarchy of vision articulated by inside and outside”. Eisenman looks at the work of Deluze ,to break away from this tradition,. He suggests that the use of an immobius curve, or folding disrupts the subject’s understanding of inside and outside.
Eisenman closes his article saying that the four walls that make-up architecture “could deal with the other affective senses of sound, touch, and of the light laying within the darkness”.
The article analysis the bodily of space and explains how the result of the same may be generalized with regards to our own body, which stands true of all perceived things. This may be explained better when by saying “to be a body, is to be tied in a certain world, as we have seen our body is not primary in space it is of it “.(pg148)
Merleau-Ponty creates a sense of mind-body dualism by examining both of perspective and sense. He explains that the body comprises visual, tactile, and many other forms of information that we can obtain. This occurs as a result of the body, and becomes a sum, or as he quotes Leibnitz, the ‘effective law’ of its changes. “Translating the data of touch into the language of seeing or vice versa”; rather, the translation and unification are performed within a person, “they are the body itself” (pg 150).
He goes on to equate the body not to a physical object but to a work of art. He further explains this by saying “In a picture or a piece of music the idea is in communicable by means other than the display of colour and sound.” Similar to a novel, poem, picture or musical work, that is beings in which the expression is indistinguishable from the object expressed; meaning, accessible only through direct contact.
He closes the article by analyzing the motor habits as an extension of existence and leads on to analysis the perceptual habits as the coming into the possession into the world. He explains that a new meaning is formed, former movements are integrated into a fresh motor entity, the first visual data into a fresh sensory entity, natural power suddenly come together in a richer meaning. This process reshuffles elements of that equilibrium and fulfills our blind expectations.
1. Can the creator every be separated from his creation, in this case is an architect’s perception always the only way of experiencing his architectural creation?
This was one of the most distinctive works of Freud; he himself pitched the theory of THE EGO AND THE ID as a continuation or completion of “beyond the pleasure principle”. The article draws from a lot of clinical experience. The ego and the id explore the segments of mental organization and super-ego.
Peter Gay translates the analytical observations and attempts to arrive at a new conclusion, however there are no fresh borrowings from biology, and expresses how Freud’s work is closer to psycho-analysis than his previous work .
In the introductory chapter “Consciousness and what is unconscious”: a basic breakdown is made of what is conscious and what is unconscious. And explains how the psychology of consciousness is incapable of solving the problems of dreams and hypnosis.
Gay goes on to discuss how pathological research has directed our interest to the repressed and ego too in the true scene of the word may be considered unconscious. He explains how all our knowledge is now bound up with consciousness. His translation explains how on another place (the unconscious) the real difference an “ ues” and a “pes” .
Peter Gay in the translation of the article discusses the perception of ego, id and super ego and what it meant to Freud. He defines the three states of mental being as:
1 How may this theory of ego, id and super-ego be applied in architecture and built form?