Читать книгу Architecture. Dialectic. Synthesis - - Страница 11

A building, as internal to itself and as external to itself, is, respectively, an interior and an exterior. The interior is the building in its internal expression, the interior of the building. The existence of the interior distinguishes an architectural form from sculptural and other forms. A sculptural form is a purely exterior form, it is external to itself. The interior contains the specifics of architecture as a container. The interior is the building's inward orientation, into itself as an integrity distinct from the environment. The exterior is, on the contrary, the building's exit outside, into the external world, its manifestation to the space of the surrounding world.

This only captures the antithesis of the interior and exterior as the opposition of the building to itself. Dialectics then examines categories from the point of view of their otherness, and establishes the transition of opposites into each other. Otherness to the building is a human subject. The interior is a form encompassing this subject. Consequently, the subject turns out to be an internal content in relation to the interior, and the interior in its relation to the subject is an external thing. The exterior category also undergoes a similar transition to its opposite when correlated with the otherness. The exterior in relation to the subject presupposes the possibility that the perception of the subject embraces it, if not simultaneously, then sequentially, with the in a circular, ambient motion. This means that the exterior is the inner content in the encompassing perception of the subject.

So, during the transition from the building-for-oneself to the building-for-the other and back, the external flows into the internal (and vice versa) within the framework of the interior-exterior antithesis.

There is another type of overflow of these categories – when moving from one to many in the category of architectural objects. This refers to a situation where many buildings, each of which is individually given externally, organize an interior urban space, provided that their layout is relatively closed. Such an example is a square. The same can be established regarding the direction from the interior to the exterior. If there is a number of rooms connected in a closed arc-shaped enfilade flow, then there is created the possibility of encompassing the perception of a part of the interior space, and this introduces an exterior moment in perception.

The next task of dialectics is to synthesize these categories. The synthesis of interior and exterior is the building considered as a whole. Leaving behind the discrete consideration of the building from the inside and from the outside and absorbing its integrity in a single semantic act, we are already returning to the original identity of the interior and exterior, but now with the preservation of the moment of their distinction. This synthesis, as a self-identical difference, is the building as a unity of container and shell, an integral architectural unity.

Let's combine the summary of the "interior-exterior" section with the previous results into a single categorical structure:

Architectural Ennead26

Architectural eidos:

a) Functional and aesthetic original identity

b) Function – Aesthetics

c) Architectural form

Architectural meon:

a) Structure

b) Layout – Tectonics

c) The fact of the building

Architectural integrity:

a) Architectural essence

b) Interior – Exterior

c) The building as a unity of container and shell

The proposed ennead summarizes the most basic architectural categories. Further movement along the planned path leads us to more specific architectural concepts such as scale, wall, window, etc. We will consider them not only from an abstract logical point of view, but also from a specific mythological one.