By Georges Teyssot
This day, areas now not characterize a bourgeois haven; nor are they the websites of a classical concord among paintings and relaxation, inner most and public, the neighborhood and the worldwide. the home isn't really simply 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 inner most house, and the blurring of notions of inside, privateness, and intimacy in our societies. He proposes that we reconsider layout when it comes to a brand new definition of the practices of daily life.
Teyssot considers the door, the window, the replicate, and the reveal as thresholds or interstitial areas that divide the area 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 of exchanges and encounters.
If the edge not separates public from deepest, and if we will be able to now not consider 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 resources for A Topology of Everyday Constellations (Writing Architecture series)
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. Benjamin noted: “Etuis, dust covers, sheaths . . 95 This distancing effect of things can also be explained by the high potential for disappointment where durable goods are concerned. 96 Our disappointment in the face of things arises from the fact that the durable goods furnishing our living spaces bring a balance between pleasure and comfort—a balance leaning toward comfort, to the detriment of pleasure.
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. Benjamin noted: “Etuis, dust covers, sheaths . . 95 This distancing effect of things can also be explained by the high potential for disappointment where durable goods are concerned. 96 Our disappointment in the face of things arises from the fact that the durable goods furnishing our living spaces bring a balance between pleasure and comfort—a balance leaning toward comfort, to the detriment of pleasure.
76 Thus, modern mythology is knowledge, a “science of life” deferred in time and space, which illuminates only those who are already 20 C hapter 1 outside of, or feel removed from, or dispossessed by, this experience. 79 The past becomes a dialectical overturning, an unexpected eruption, and the sudden discovery of the awakened perception. Through the notion of the always-the-same, and by plunging into the deepest dream, things, immersed in a continuous flow, came to meet him. In this way, rather than remaining merely a series of notes, Benjamin managed to construct something closer to a surrealist montage out of his citations.