By Ann Cline
This small booklet on small dwellings explores the various greatest questions that may be posed approximately structure. What starts the place structure ends? What was once prior to architecture?The ostensible topic of Ann Cline's inquiry is the primitive hut, a one-room constitution outfitted of universal or rustic fabrics. Does the proliferation of those constructions lately characterize escapist architectural fable, or deeper cultural impulses? As she addresses this question, Cline gracefully weaves jointly tales: one in every of primitive huts in instances of cultural transition, and the opposite of diminutive buildings in our personal time of architectural transition. From those narrative strands emerges a deeper inquiry: what are the limits of structure? What ghosts inhabit its edges? What does it suggest to reside outdoor it?Cline's undertaking all started twenty-five years in the past, whilst she got down to translate the japanese tea ritual into an American idiom. First learning the conventional tea practices of Japan, then development and designing huts within the United States, she tried to make the "translation" from one tradition to a different via using universal American construction fabrics and know-how. yet her research finally led her to examine many nonarchitectural rules and resources, for the hut exists either first and foremost of and on the farthest fringe of structure, within the margins among what structure is and what it really is not.In the ensuing narrative, she blends autobiography, old examine, and cultural feedback to think about where that such constructions as shacks, teahouses, follies, casitas, and diners--simple, "undesigned" locations valued for his or her timelessness and authenticity--occupy from either a ancient and modern point of view. This booklet is an unique and ingenious try to reconsider structure through learning its boundary stipulations and formative structures.
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Extra resources for A Hut of One's Own: Life Outside the Circle of Architecture
Diderot, in his Bijoux Indiscrets, describes a veritable mania for such little houses. Thus the formality of court life gave way to a private, libertarian quest for sensations that, no sooner provided, needed renewal from yet another turn of the path, yet another dissembled dalliance. ”11 But whether boudoir or gallery, the pleasures of these little houses lay in their cohabitation. No longer a cabinet of curiosity or a theatrum mundi, the folly had become a theatrum cupio, an orchestrated seduction.
Blind Lemon Jefferson—“one guy alone, with a guitar and no options but to sing to ease his pain”—evokes a landscape reaching from the Mississippi Delta to Chicago to Newcastle, a landscape of rock-bottom necessity and passion, a landscape sucked by hunger into even the hameaux of suburbia. Today, the black man’s blues and the white man’s rock and roll create invisible landscapes that leave no trace but the headphone cord—a landscape of imagined fulfillment that replaces the agony of possibility.
So I take it home and attach it” Kurt Schwitters, Merzbau, Hanover, Germany, c. ”4 In the practice Rodrigues describes, like that of Bacon’s humanist, nature was one vast single text: a “science” of signs and signatures, read from humble objects and natural phenomena and an “art” of resemblances and sympathies, read from seasonal and sensible juxtaposition. ”5 Later, seventeenth-century gentlemen turned their cabinet of curiosities inside out; the whole house and garden became a cabinet of rarities, combining the talismanic images of classical antiquity and the Garden of Eden.