By Ann Cline
This small publication on small dwellings explores a few of the greatest questions that may be posed approximately structure. What starts the place structure ends? What was once ahead of 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 in recent years characterize escapist architectural myth, or deeper cultural impulses? As she addresses this query, Cline gracefully weaves jointly tales: certainly one of primitive huts in occasions of cultural transition, and the opposite of diminutive constructions 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 open air it?Cline's venture all started twenty-five years in the past, while she got down to translate the japanese tea ritual into an American idiom. First discovering 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 development fabrics and expertise. yet her research finally led her to examine many nonarchitectural principles and assets, for the hut exists either initially 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 learn, and cultural feedback to think about where that such constructions as shacks, teahouses, follies, casitas, and diners--simple, "undesigned" areas valued for his or her timelessness and authenticity--occupy from either a old and modern viewpoint. This e-book is an unique and innovative try and reconsider structure by way of learning its boundary stipulations and formative structures.
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Additional info for A Hut of One's Own: Life Outside the Circle of Architecture
But while the modernist classicism assumes that everywhere the earth and sky are the same, the existentialist/regionalist argues that they are everywhere different; what is universal is that everywhere, there is earth and sky. Meanwhile, for some, the classicism of economic need remains. To those who dwell “between hurt but invincible nature and the plainest cruelties and needs of human existence,” there is no theoretical dilemma. The poor uncover empirically what architectural existentialists recover theoretically.
The house whose backyard surrounded my hut, cocooned me from these perceptions. Only by placing my life in the midst of 33 Interval: The Hut in the Backyard Sink alcove, site of daily tasks and backstage for Tea Primitive Huts 34 A proscenium of plywood over Tea’s choreography 35 Interval: The Hut in the Backyard my backyard had I discovered its poetry. Like finding the firmness of scale through the placement of windows, I had found the commodity of my dwelling through the poetry of its use. The reader familiar with Vitruvius may anticipate that the hut’s third challenge will have something to do with delight, and may wonder why so obvious a construct as “firmness, commodity and delight” should guide a tale of pure experience.
In our own time, we have additional ways to assuage our longing beside actual landscapes of brick and stone, plaster and thatch. For millions, music creates the landscape of longing. 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.