By Ann Cline
This small ebook on small dwellings explores a few of the greatest questions that may be posed approximately structure. What starts off the place structure ends? What was once prior to 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 symbolize escapist architectural myth, or deeper cultural impulses? As she addresses this query, Cline gracefully weaves jointly tales: one among primitive huts in instances 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 live open air it?Cline's undertaking started twenty-five years in the past, while she got down to translate the japanese tea ritual into an American idiom. First studying the conventional tea practices of Japan, then construction and designing huts within the United States, she tried to make the "translation" from one tradition to a different via using universal American construction fabrics and know-how. yet her research ultimately led her to examine many nonarchitectural principles and assets, for the hut exists either in the beginning 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 study, and cultural feedback to think about where that such buildings 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 standpoint. This ebook is an unique and creative try to 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
Where in all the emptiness of space was each to occur? As Carlos Castan˜eda had circled Don Juan’s porch to find his own sitio, so I circled my hut looking for the tasks of my daily life. Where should I enter? Where would I sit? Where could I lie down? The first entrance I made prompted me to build a tiny porch roof, supported by a slim piece of tree trunk. But after 29 Interval: The Hut in the Backyard Tree trunks and falling leaves became passionate vignettes Primitive Huts 30 The square window where kettle and bowl were finally at rest 31 Interval: The Hut in the Backyard I frequently found myself sitting at the doorway, scribbling in my notebook, I filled the opening with a window, and below it a small writing shelf.
Eventually I added two more alcoves along the remaining walls: one very low for a tiny wood stove, one slightly higher as an alternative to sitting on the floor. As my dwelling took shape, it began to shape my life as well. And when I sat inside reading the recluse poets, the terse simplicity of their record framed my own perception, one I likened to a camera recording a world of pure experience. To deconstructionist philosophers, the idea of “pure experience” sets up a red flag; they think that pure experience presumes the authority of absolute or universal truth.
What further longing Yoshimasa had—to enter the paintings that inspired him to reclusion—he fulfilled through a man named Murata Shuko. At Yoshimasa’s order, Shuko built a rustic hut near the center of the capital and, there, devoted himself to the art of cooking a meal and eating it, the art of infusing tea and drinking it. Today, the remnants of Marie Antoinette’s hameau still stand near the Petite Trianon and Yoshimasa’s hermitage still 23 Landscapes Recalled Primitive Huts 24 Longing for the peasant life needed all the accoutrements The Hamlet, near the Petit Trianon, c.