THE SECRET GARDEN
3_01NARATIVE AND MEMORY
The purpose of the thesis is to turn up the topographic point of architectural guess with respects to the metropolis context, and explain the relationship between the bad act of architecture and representational enquiry. The mobilisation of the object through narrative repeat will let modern outwardness, and through reversal of lettering allow the return of perfect alphabetisation. Furthermore, it suggests thatthe existent, seeable and hearable universe of the metropolis arises fromsignificance as consequence of association – externalized narrative.
Our personal histories inform the manner we interpret the universe around us. Our past creates biass that we unconsciously adopt, while memory informs our life and desires. Architecture non merely records memory, but besides creates memory. Created infinite becomes a medium of memory, a surface on which organic structure and clip leave hints.
There is a relationship between the act of remembering and the act of narrating. One can separate between the common relationships of memory and narrative, memory is our dynamic sense of the past and narrative our personal accountofevents, experiences, orthelike, whethertrueorfictitious. Narrative transposed onto the metropolis with and through complex spacial representations, allows contact with all the humanistic disciplines and scientific disciplines that have ever been used in the reinforced environment as a model for larger, abstract thoughts. Latour argues that the optical consistence [ 1 ] of engineering allows us to displace metropoliss, landscapes, and narrations, thereby leting an attachment between the text and its referent. It is this attachment between text and object that creates the possible for motion or “ mobility ” and the possibility for making an imagined topographic point or province. The impossible and practical can be drawn realistically, and the realistic can be re-drawn in order to accomplish the imagined.
Therefor it is effectual description or narrative, the production of speculated narratives — non merely the narratives themselves, but the ‘how’ of their devising that allows externalisation. The speculated, if mobilized, has to be made good through the hitch of participants who can be taken on the journey of the narrative and so return with the committedness and belief in this narrative.
“If the reading of architecture was to include all the events that took topographic point in it, it would be necessary to invent theoretical accounts of notating such activities… Architecture ceases to be a background for action, going the action itself… ..Architecture becomes the discourse of events every bit much as the discourse of spaces.”
-Tshumi, ibid.
THE SECRET GARDEN,a novel byFrench republics Hodgson Burnett
The involvement in the relationship between text and memory There is a relationship between the act of remembering and the act of narrating. One can separate between the common relationships of memory and narrative, memory is our dynamic sense of the past and narrative our personal accountofevents, experiences, orthelike, whethertrueorfictitious
The Secret Garden ( 1909 tells the narrative of Mary Lennox, a spoiled, contrary, lone kid raised in India but sent to populate in her uncle’s manor in Yorkshire after her parents ‘ decease. She is left to herself by her uncle, Mr. Craven, who travels frequently to get away the memory of his asleep married woman. The lone individual who has clip for Mary is her fille de chambre, Martha. It is Martha who tells Mary about Mrs. Craven ‘s walled garden, which has been closed and locked since her decease. Mary becomes intrigued by the chance of the disregarded garden, and her pursuit to happen out the garden ‘s secrets leads her to detect other secrets hidden in the manor. These finds combined with the improbable friendships she makes along the manner aid Mary come out of her shell and happen new captivation with the universe around her.
The narrative is characterised by three structural relationships, that of division, brotherhood and the eventful dialectical relationship of the characters. The initial emotional division of the household, which through Mary’s machination of the garden and continuity of character, the dialectical relationship, is finally unified.
In order to make an effectual description or narrative, the production of speculated narratives a new typology of edifice is needed in order to turn with the city- a alteration to the original [ 2 ] province, a disruption- a edifice with programmatic connexions at an urban graduated table. Thus the fiction,The Secret Garden, is seen as a metaphor for Johannesburg and the structural relationship of the fiction are used as footing for architectural probe.
3_02THE CONCEPT OF FICTION
‘Disruption and disruption, taken metaphorically, are hence necessary in the building of fresh meanings.’– John Whiteman, ( Whiteman, 1986 ) .
In order to accomplish the above mentioned typology and programmatic connexion Eisenman’s method of grading is used. This method of probe, harmonizing to Whiteman, may be a boring over-complication of architectural logic, but it allows a possible architectural solution concerned with architectural representation and the symbolic and religious jobs which such an probe raises ( Whiteman, 1986 ) . Presence, beginning and aesthetic object are questioned through the application of the theory of grading, in order to find how this province of break can inform the reoccupation and continued fiction of the edifice making the Absence of Presence. Through interrupting the original province of the edifice and its cloth, the architectural solution would deprive away the false amenitiess of logic and the representations thereof will incorporate present elements, elements of memory, and elements of immanency, exposing heritage and significance which are inseparable of each other.
The Romeo and Juliet undertaking by Peter Eisenman is a series of site gradings and formal enrollments, mere Markss in the bing cityscape, which muse in self-reflexive ways upon the complex subjects of brotherhood, division, and relation in the calamity of Romeo and Juliet. The undertaking is a sort of literary work which could be built ensuing in a physical fiction. It is an geographic expedition of the political orientations of classical ordination and traditional nonliteral presence through which Eisenman is seeking to expose the narrow and reductive ways in which the universe is made known to us through architecture, reasoning that more complex and less actual signifiers of architectural representation should be made manifest within the civilization.
The Romeo and Juliet strategy is a proposal to construct a fiction that explores ‘positive ‘ techniques refering the building of symbolic significance against the more usual and surely more recognized ‘negative ‘ theories of artistic production. In making so Eisenman has moved to a signifier of architectural idea in which the logic that determines the practical building of a design is non sufficient in and of itself to construction its reading.
Eisenman argues that ‘man’ [ 3 ] can no longer be foundation which informs the foundation of architectural work, as this place is indefensible in modern society. In order to consequence an architectural response to this unfavorable judgment and the new circumstance of adult male, the Romeo and Juliet undertaking proposes to use an ‘other’ discourse, one which attempts to shun the anthropocentric forming rules of presence and beginning, a discourse founded in a procedure calledscaling.
The procedure of grading is distinguished from that of architectural graduated table and its related impression of size. In scaling there is no individual privileged referent, and hence no originary value ; alternatively, each graduated table alteration invokes features specific and intrinsic to that graduated table, thereby liberating architecture from the metaphysics of graduated table. Scaling outputs an architectural intercession which destabilizes foremost the value which architecture gives to presence and secondly the value that architecture gives to origin. In destabilizing presence and beginning, the value that architecture gives to representation and the aesthetic object is besides called into inquiry. Scaling in this context proposes three destabilising agents: discontinuity, which confronts the metaphysics of presence ; recursivity, which confronts beginning ; and self-similarity, which confronts representation and the aesthetic object.
Eisenman argues that these agents, discontinuity, recursivity, and self-similarity are reciprocally dependent facets of grading, saying that they confront presence, beginning, and the aesthetic object in three facets of architecture: site, programme, and representation.
The traditional geometries and procedures in architecture are needfully uninterrupted because they are basically geometries and procedures of presence. A presence is a physically existent signifier, and if architecture recognizes merely presence, it will acknowledge no discontinuity. Discontinuity is the facet of scaling which disrupts and therefore criticizes the position of presence. In scaling discontinuity differentiates absence from nothingness. Absence is either the hint of a old presence, it contains memory, or the hint of a possible presence, it contains immanency. In its most decreased sense, recursivity is the amplification of self-same signifiers. Recursivity confronts origin merely when it is in a status of self-similarity. Self-similarity refers to analogic repeat and non to the geometric mimesis normally found in an aesthetic object. It is this analogic dimension which frees scaling from a mechanical procedure. Rather than bring forthing a transferral which preserves the aesthetic belongingss, as found in traditional representation, self-similarity produces an ageless transmutation of belongingss. Rather than being an aesthetic object, the object becomes a text – a construction of its ain being.
It is for this fact that this theory has been chosen. The proposed undertaking or object will go a construction of its ain being, annnnnnn
The undertaking will show the dominant repeating subject of the narrative, The Secret Garden, in an architectural signifier at the site of the Cosmopolitan Hotel. The three structural relationships which pervade the narration of The Secret Garden can besides be found to be on a physical degree in the metropolis of Johannesburg. The unusual presence of these fictional worlds in Johannesburg sets the phase for the undertakings farther heterotaxy of world and fiction. The applied destabilizations will undersell the world of programme making a fiction of a fiction. In making so the undertaking proposes an architecture which replaces the teleology of the ideal with the openness of text, uniting single entities into a presence of a presence. This will let the presencing of the fictional elements of Johannesburg in the world of the Cosmopolitan Hotel, making a simultaneousness of experience of both text and object.
“Fact occupies itself with seeking to reproduce fiction.”
– Academy award Wilde, The Decay of Lying, 1891
