do almost (nothing) is almost
very well Sc
Some areas are motivated primarily by the maximalist, architecture is part, distinguished by his need to prove infinite. Success depends on the contents of the portfolio, the size of the project, the prestige of the client, the deluge of advertising and the narcissistic, compulsive personality and theatrical architect, for whom everything is never enough. The unbridled ambition is the hallmark of prestigious agencies and schools of architecture, or "go home" is considered renounce. For anyone hoping to escape the drudgery of basically meet the demand of the customer Program, sleeping under his office is perfectly normal. To become an architect thinking, creative is not enough just to be able to do anything, we must also do so. Work, work, work is the watchword. Faced with this barrage of energy, nothing should be left to chance, the architect tries to control everything and what matters is to install a total of universe .. Everything must be completely worked, leaving no open issues, nor any hole unfilled. Based on complete overhaul, the architecture tries a touch of reality rather than the addition of subtle touches. She always wants strategies, while tactics are often better solutions.
For much of contemporary architecture, the competition file seems to represent the single condition. It is seen as a framework that is authoritatively defined or the project must go, it must fulfill his mission without question the mission more than that. By taking this relationship to the program, the architecture starts to inevitably depends on its quality. If the program is awkwardly defined, which is often the case with competitions, then the architectural response to the question can not be much smarter. The program is not an ultimate given, but material to be processed, considered, tested, questioned and if necessary, redefined.
This act re-examine the issue can cause a variety of architects to radical conclusions. One of them may be to reject the project. There
example, the infamous episode concerning the architect Cedric Price and the married couple who asked him to build a house. When they began to explain what they wanted, they had an argument, evidently marking their different desires and concepts about the house. Price has finally stopped, and told them what they needed was not an architect, but a lawyer, and dismissed the order. Although Price did not do the project, it clearly did not do anything. He made a proposal regarding the urgency to put its customers at the fact that the real problem was not to build a house, but to rebuild their relationship. What is a constructive refusal.
is also the case when the project will not materialize as a work like the famous composition by John Cage called 4'33 "which consists of a pianist sitting at the piano and not playing for exactly 4 minutes 33 seconds. This obviously is not nothing, and it becomes a really dense scenario. The audience begins to wonder what is happening and why the musician begins to play. To offset the unbearable silence, the spectators begin to emit sounds furtive, scraping their throat, nervously gesticulating .. Only when the player gets up and leaves the stage as the auditorium suddenly realize that the performance for which he came and looked forward to coming to an end. What could have appeared at first as an annihilation of the music soon proved otherwise. By preventing it from playing music, Cage gives the possibility al'audience listen to the sound of silence, and therefore in the same way that broadens the concept of Beuys' work of art, it radically expands the concept of music by eliminating the distinction between sound and noise. The suspension action is expected can lead to produce something substantial. It might be interesting architecture can reserve the right to take advantage of this form of action reversed.
Texts.
The abolition of activity as it alienates and separated from the life that goes Guy Debord
Doing (almost) nothing is (almost) all right, Ole Bouman
Reprogramming architecture, Ilka & Andreas Ruby
bigness , Rem Koolhaas
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