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Lebbeus Woods Architectural Woodwork
Architecture is war. War is architecture. I'm at war with my time, with history, with all authority that resides in fixed and frightened types.
Lebbeus Woods dedicated his manifesto pamphlet War and Architecture, Rat I Arhitektura for the Bosnian capital in 1993. To read it is to immerse yourself in an ethic that is also a poetics of Romanticism: an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky.
Sarajevo, 1992, "architecture resisting change, even because it flows from it, struggling to crystallize and be eternal, even as it is broken and scattered...".
The American architect and critic's thought is the fact that the physical and existential remains of the destruction in Sarajevo need to be preserved as a habitat for new organisms that will live amongst the ruins of a war which so many individuals - Westerners, do-gooders, hard-liners - have already been forgotten, avoided or erased from memory. These organisms will inhabit the scars of war like parasites, leave wounds open, courageously accept the pain from the present, the recent previous, the dead.The types he imagines are anything but eye-catching. He styles enormous insects, uses the words of animal life and of sickness: the scar, the scab. Acceptance of the scar is definitely an acceptance of existence. Lebbeus Woods was a war correspondent in Bosnia for the Japanese architecture magazine a+u, a voluntary architect-on-the-spot.
Several of his ideas are for cities: Berlin, Paris, Zagreb, Sarajevo. He formulates neither neighborhood improvement schemes nor permanent visions, and suggests neither window-dressing nor facelifts nor plastic surgery. He networks o lifestyles, methods of relating to what is, infiltrations in the raw components of human existence. A single recurrent structure or anti-invariance in Woods' architecture is Freespace. Freespace embodies a new conception of space along with a new kind of knowledge-through-action open to wide individual interpretation and person invention.
This can be open, undefined space used randomly and meaninglessly. Electronically equipped, constantly changing space that tends to make a tough habitat for people seeking shelter and domesticity. Space for individuals in crisis that are often prepared to make a brand new commence. Free-Zone-Berlin is really a typical instance: as a way to encourage the networking of autonomous men and women, free of charge of monumentalised institutions of culture and in the name of revitalising the correct, unseen culture of Berlin, the center of the city is declared a Free-Zone and a network of Freespaces is established.
In Berlin, Freespaces are carved from the inside out in current buildings, remodeling the neutral, predictable Cartesian grid into a new, ambiguous order. In Zagreb helicopters position Freespace structures in the streets. The architecture is mobile. Violence is completed towards the pre-established order, to what's provided: you do not walk on tiptoe inside the slaughterhouse of freedom. Within a customer society the only recourse would be to make one's own perform indigestible. Otherwise it is going to turn into the inevitable end-product of all processes of consumption: excrement.
Architecture is a political act. Lebbeus Woods opposes establishment culture which is blind, or pretends to be blind, and utilizes energy to defend itself. He opposes all ideology to be able to go where transformations lead. Lebbeus Woods says any ideology is a betrayal. He introduces anarchy into architecture and speaks of an architecture: let people live how they want, exactly where they want. Solohouse is really a property for people who have selected to live in solitude, in the business of sophisticated gear which enables them to observe the planet, like the one particular inside themselves. Lebbeus Woods quotes Schopenhauer: solitude may be the last true test of an individual's capacity for the Sublime, that intoxicating mixture of exultation and terror lifting the individual to his highest and most difficult thoughts and emotions.
In Underground Berlin the architecture of experience carries the challenge under ground with structures immersed in the flux of magnetic, seismic and gravitational frequencies ahead of resurfacing with all the drama of a Francis Bacon painting, whilst in Aerial Paris architecture triumphs over gravity. Man is really a gypsy suspended inside the computerised nodes of an aerial network, free of charge to decide on in between solitude and fellowship.Lebbeus Woods prefigures a brand new kind of order determined by heterarchy, a term borrowed from cybernetics. Heterarchy lies outdoors hierarchy. He identifies the hierarchy of items with the hierarchy of social structures and institutions: a revolution inside the latter begins with the elimination in the former.
Lebbeus Woods sees architecture as an instrument of information. Experimental: living is experimental. Paradoxical: it transcends the logic of its personal construction. Self-referential: human existence is "about itself" more than it truly is concerning the planet. He utilizes paradox as an antidote to constriction, against metaphysics of any sort.His drawings and writings belong to a utopian planet. They're acts of political and existential condemnation expressed within the kind of architecture.One utopian precedent is Archigram. Conditions have changed in thirty years, from the British group's technological optimism for the American architect's electronically-assisted existentialism.
Both provide a distinct, non-standardising planet, a projection from the future through photos (comic strip, sci-fi), the belief that architecture has the capacity to transform. Lebbeus Woods writes: architecture should instigate streams and turbulences of its own, participating and not merely expressing. In 1963 Warren Chalk stated: within a technological society more individuals will play an active part in figuring out their very own person atmosphere, in self-determining a way of life.
Woods is definitely an independent voice, a Piranesian libertarian, a fellow-traveller of Michael Sorkin, Hani Rashid, Lise Anne Couture and a handful of other New York-based researchers, and may be the most extreme, perhaps essentially the most political of them all.
He is much loved by students in the world's a lot more experimental, much more aristocratic architecture schools (Cooper Union, Sci-Arc, Columbia) where he teaches but is ignored by the academic institutions all around us that are as moralistic as they are resistant to modify, as reactionary as they may be indifferent for the dramatic events taking place under their really nose.
Architecture is war. War is architecture. I'm at war with my time, with history, with all authority that resides in fixed and frightened types.
Lebbeus Woods dedicated his manifesto pamphlet War and Architecture, Rat I Arhitektura for the Bosnian capital in 1993. To read it is to immerse yourself in an ethic that is also a poetics of Romanticism: an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky.
Sarajevo, 1992, "architecture resisting change, even because it flows from it, struggling to crystallize and be eternal, even as it is broken and scattered...".
The American architect and critic's thought is the fact that the physical and existential remains of the destruction in Sarajevo need to be preserved as a habitat for new organisms that will live amongst the ruins of a war which so many individuals - Westerners, do-gooders, hard-liners - have already been forgotten, avoided or erased from memory. These organisms will inhabit the scars of war like parasites, leave wounds open, courageously accept the pain from the present, the recent previous, the dead.The types he imagines are anything but eye-catching. He styles enormous insects, uses the words of animal life and of sickness: the scar, the scab. Acceptance of the scar is definitely an acceptance of existence. Lebbeus Woods was a war correspondent in Bosnia for the Japanese architecture magazine a+u, a voluntary architect-on-the-spot.
Several of his ideas are for cities: Berlin, Paris, Zagreb, Sarajevo. He formulates neither neighborhood improvement schemes nor permanent visions, and suggests neither window-dressing nor facelifts nor plastic surgery. He networks o lifestyles, methods of relating to what is, infiltrations in the raw components of human existence. A single recurrent structure or anti-invariance in Woods' architecture is Freespace. Freespace embodies a new conception of space along with a new kind of knowledge-through-action open to wide individual interpretation and person invention.
This can be open, undefined space used randomly and meaninglessly. Electronically equipped, constantly changing space that tends to make a tough habitat for people seeking shelter and domesticity. Space for individuals in crisis that are often prepared to make a brand new commence. Free-Zone-Berlin is really a typical instance: as a way to encourage the networking of autonomous men and women, free of charge of monumentalised institutions of culture and in the name of revitalising the correct, unseen culture of Berlin, the center of the city is declared a Free-Zone and a network of Freespaces is established.
In Berlin, Freespaces are carved from the inside out in current buildings, remodeling the neutral, predictable Cartesian grid into a new, ambiguous order. In Zagreb helicopters position Freespace structures in the streets. The architecture is mobile. Violence is completed towards the pre-established order, to what's provided: you do not walk on tiptoe inside the slaughterhouse of freedom. Within a customer society the only recourse would be to make one's own perform indigestible. Otherwise it is going to turn into the inevitable end-product of all processes of consumption: excrement.
Architecture is a political act. Lebbeus Woods opposes establishment culture which is blind, or pretends to be blind, and utilizes energy to defend itself. He opposes all ideology to be able to go where transformations lead. Lebbeus Woods says any ideology is a betrayal. He introduces anarchy into architecture and speaks of an architecture: let people live how they want, exactly where they want. Solohouse is really a property for people who have selected to live in solitude, in the business of sophisticated gear which enables them to observe the planet, like the one particular inside themselves. Lebbeus Woods quotes Schopenhauer: solitude may be the last true test of an individual's capacity for the Sublime, that intoxicating mixture of exultation and terror lifting the individual to his highest and most difficult thoughts and emotions.
In Underground Berlin the architecture of experience carries the challenge under ground with structures immersed in the flux of magnetic, seismic and gravitational frequencies ahead of resurfacing with all the drama of a Francis Bacon painting, whilst in Aerial Paris architecture triumphs over gravity. Man is really a gypsy suspended inside the computerised nodes of an aerial network, free of charge to decide on in between solitude and fellowship.Lebbeus Woods prefigures a brand new kind of order determined by heterarchy, a term borrowed from cybernetics. Heterarchy lies outdoors hierarchy. He identifies the hierarchy of items with the hierarchy of social structures and institutions: a revolution inside the latter begins with the elimination in the former.
Lebbeus Woods sees architecture as an instrument of information. Experimental: living is experimental. Paradoxical: it transcends the logic of its personal construction. Self-referential: human existence is "about itself" more than it truly is concerning the planet. He utilizes paradox as an antidote to constriction, against metaphysics of any sort.His drawings and writings belong to a utopian planet. They're acts of political and existential condemnation expressed within the kind of architecture.One utopian precedent is Archigram. Conditions have changed in thirty years, from the British group's technological optimism for the American architect's electronically-assisted existentialism.
Both provide a distinct, non-standardising planet, a projection from the future through photos (comic strip, sci-fi), the belief that architecture has the capacity to transform. Lebbeus Woods writes: architecture should instigate streams and turbulences of its own, participating and not merely expressing. In 1963 Warren Chalk stated: within a technological society more individuals will play an active part in figuring out their very own person atmosphere, in self-determining a way of life.
Woods is definitely an independent voice, a Piranesian libertarian, a fellow-traveller of Michael Sorkin, Hani Rashid, Lise Anne Couture and a handful of other New York-based researchers, and may be the most extreme, perhaps essentially the most political of them all.
He is much loved by students in the world's a lot more experimental, much more aristocratic architecture schools (Cooper Union, Sci-Arc, Columbia) where he teaches but is ignored by the academic institutions all around us that are as moralistic as they are resistant to modify, as reactionary as they may be indifferent for the dramatic events taking place under their really nose.
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