Stereotomy

architecture stereotomy

The elusive nature of architecture objects has been recognized since philosophers have laid eyes on it. The knowledge of the elusive architectural object has been around since the Greeks but the qualities weren't fully embraced until the Renaissance. To physicalize the object to its last atom would serve as a very good tool to forget about the evasive nature.

Stereotomy was one of those methods to achieve this tool and it has been a part of architectural discourse since it's inception and many artists and architects have professed its use. Most noticeably since the German enlightenment where architecture was viewed as a science which conforms to the architects needs and later the culture that came about after the Eastern practices (Japanese architecture might be the most apt example) became more popular.

The 'detail' has been talked about since the modernists. Before that it remained this, very obvious tool,  that was used to achieve the end result (mainly spiritual in its essence). But since the advent of modernism, the detail has become a visual niche that has it's own pedestal in the conception of a design. This trend was also seen in the famous chairs in this transition period. Instead of details being the ornament that served the 'whole' it became the chair itself (A series on the modernist chairs will be published soon). Mies did make the details famous but he was by no means the locus of this movement. 

Stereotomy today has taken many branches and being of the present makes it difficult to give a holistic idea of detail in architecture. But we can always talk about trends. Phenomenologists and casual interior enthusiasts have mainly taken up the modernist mantle of the architectural stereotomy detail. This is not to say that speculative and higher end scholars and critics have not advanced this notion. On the contrary speculative schools in the States majorly have taken up this idea and expounded it.

Phenomenologists have advanced the notions of the transcendentalists and Merleau ponty majorly (Juhanni Pallassmaa and many others) to make the detail a necessity to interact with architecture. It has taken detail's spatio-temporal essence and advanced it further to create architectural identity and sense of space in relation to self. Although a noble intention to ingrain architecture in the viewer, it has forgotten that all objects radiate their spatio-temporal aura and to fixate only on the architectural details would make the crass miscalculation of a situation when all objects of a space are put together. 

stereotomy architecture
stereotomy architecture
stereotomy architecture