By Georges Teyssot
This present day, areas not signify a bourgeois haven; nor are they the websites of a classical concord among paintings and rest, inner most and public, the neighborhood and the worldwide. the home isn't really only a house yet a place for negotiations with a number of spheres -- the technological in addition to the actual and the mental. In A Topology of daily Constellations, Georges Teyssot considers the intrusion of the general public sphere into deepest house, and the blurring of notions of inside, privateness, and intimacy in our societies. He proposes that we reconsider layout by way of a brand new definition of the practices of daily life.
Teyssot considers the door, the window, the reflect, and the reveal as thresholds or interstitial areas that divide the realm in : the surface and the interior. Thresholds, he indicates, paintings either as markers of limitations and as bridges to the outside. The stark selection among boundary and bridge creates a center area, an in-between that holds the potential for exchanges and encounters.
If the brink not separates public from deepest, and if we will now not ponder the home as a bastion of privateness, Teyssot asks, does the physique nonetheless inhabit the home -- or does the home, evolving right into a sequence of microdevices, inhabit the physique?
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Additional info for A Topology of Everyday Constellations (Writing Architecture series)
91 In The Philosophy of Money (1900), Georg Simmel complained about the combined effects of industrial production, A T opolog y of E ver y da y C onstellations 23 eclectic taste, and quick changes in fads: “First, the sheer quantity of very specifically formed objects make a close relationship to each of them difficult. . . . assimilation between subject and object. . ”93 As quoted by Benjamin, the writings of Poe, Renan, and Simmel express a state of unhomely (unheimlich) malaise felt in facing industrial objects, the (more or less) durable goods and universal commodities.
Monads In the Arcades Project, Benjamin establishes the quasi-identicalness of dream and truth, revealing the mechanism of dream architecture: “The true has no windows. ”111 Such dream architecture thus has the structure of a monadological world. ”112 Monads are characterized by their discontinuity, but each one expresses all the others, just like panoramas, which constituted a reduced model of the whole universe as it was known in the nineteenth century. In the same way, arcades convert into miniature the whole mercantile world of the nineteenth century.
26 De Foville’s hypothesis is one of reciprocal influences of milieu and inhabitant. In concluding his discussion of the contemporary housing situation, he remarks that “each household wanted its own ‘home,’ its separate lodgings,” bearing witness to a unanimous desire for independence. Only the autonomy of a self-supporting household will guarantee its moral standards, its hygiene, and its social usefulness. ” Years later the young Charles-Édouard Jeanneret became an avid reader of de Foville’s inquiry, which he studied before World War I at the National Library in Paris.