SUBMITED BY; FASIL MAMO

ID; 1103483

the hard core

of beauty
revision
ASSIGNMENT

Peter Zumthor Thinking Architecture

BAHIR DAR UNIVERSTY
FACULITY OF LAND ADMINISTRATION
DEPARTMENT OF ARCHITECTURE
 December 21, 2022 [THE HARD CORE OF BEAUTY REVISION]

The hard core of beauty\s1991

The program's title was "The Hard Core of Beauty." his attention was sparked by this situation. he like
the notion that beauty has a solid basis, and when he consider architecture, this association between
beauty and a solid basis feels natural. The statement "The machine is a thing that has no unnecessary
elements," is attributed to Williams. he think he immediately get what he's getting at. He think Peter
Hiindke is pointing to this when he says that "beauty consists in natural, grown objects that do not
convey any messages" and adds that he is troubled. if he is unable of understanding the meaning of
these phrases on his own.

William Carlos Williams' poetry was predicated on the premise that objects themselves contain
thoughts, and its purpose was to have an impact on people's conduct. It takes sensory experience for
someone to claim the world as their own.

In Williams' works of art. The speaker asserted that despite its apparent lack of significance and
profundity, his words have a strong emotional impact.

Allowing emotions to grow and be rather than attempting to strangle them with frameworks is what he
heard, and that appeals to him. Additionally, the structure must be shaped precisely enough for its
location and function in order to maintain the object's character. There won't be a need for any
structural or cosmetic improvements in this method.

But beyond any arbitrary and superficial design, where are the basic forces that constitute architecture?

The Italian poet GIacomo Leopardi stated that the beauty of a work of art, in this case, the beauty of
literature is in its ambiguity, openness, and hesitation since this allows room for many interpretations.
Italo calvino tells us about Leopardi in his "Lczioni Americane"

Leopardi's claim seems to hold up well. The pieces of art or design that move us are multi-layered; they
have a vast number of meanings that may overlap, interweave, and evolve over time as our perspectives
on the world shift.

Can ambiguity and openness be planned?

seems to contradict with the claim of accuracy that Williams' reasoning seems to indicate.

Yes, it is the solution. Calvino adds, "This, therefore, is what Leopardi requires of us so that we might
appreciate the beauty of the indeterminate and ambiguous!" after pointing out that in Leopardi's own
works, this lover of the indeterminate exhibits an unshakeable commitment to what he writes and
presents to our study. In order to achieve the required vagueness, he pays extremely close attention to
the arrangement of each photograph, the thorough delineation of details, the choice of objects, lighting,
and mood. The poet of clarity can only be the poet of those who argue! reaches Calvino.

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The part of their tale that interests him, according to Calvino, is not the call to accuracy and patient,
detailed work, with which we are all familiar, but rather the suggestion that, if we observe things
carefully and give them the respect they deserve, richness and multiplicity will naturally arise.

If this is applied to architecture, it tells him that power and multiplicity must be created from the work
at hand, or, to put it another way, from the elements that make it up.

In one of his lectures, John Cage stated that he is not a composer who hears music in his head and then
tries to capture it on paper. He is taking another route. He develops ideas and actions, then tests them
to see how they sound..

When he read this, he was reminded of how his studio and he recently worked on a project for a
thermal bath in the mountains. Instead of first imagining the building and then adapting it to the
assignment, we tried to address some fundamental questions regarding the location of the given site,
the purpose of the building, and the building materials—mountain, rock, and water—which at first had
no visual content in terms of existing architecture.

The surprising structures and spaces that he feel have the possibility of a fundamental power that goes
deeper than the simple arrangement of stylistically prepared shapes emerged only after we had
effectively addressed the problems raised by the location, purpose, and material.

Being preoccupied with the natural laws of concrete objects like mountains, rocks, and water in relation
to a building alignment provides a chance to understand and express some of the "culturally innocent"
primal characteristics of these elements as well as to create an architecture that departs from and
returns to all things. Preconceived notions and idioms that have been stylistically manufactured only
serve to obstruct progress toward this objective.

My Swiss colleagues Herzog and de Meuron contend that modern architecture as a whole no longer
exists and must be manufactured by the designer as a result of careful thought.

This decision serves as the foundation for the two architects' idea of architecture, which, in my opinion,
should uniquely express the cerebrally imagined completeness of the building.

he do not aim to explore the theories of these architects as a way of thinking, merely the premise upon
which they are founded, namely that a structure is no longer complete in the sense that the master
builders used to use the term.

As for him, he still see the self-sufficiency and bodily completeness of an architectural thing as the
crucial, if challenging, objective of his work rather than as a natural or unavoidable truth.

But how are we to create this unity in architecture at a time when reality itself and the divine, which
formerly gave things meaning, seem to be disintegrating in the unending flux of transient things?

In his writing, Peter Handke discusses his efforts to integrate texts and descriptions into the context in
which they are used.

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If he is reading this properly, he is not only faced with the all-too-familiar knowledge.

The difficulty of eliminating artificiality from objects made using artificial means and integrating them
into the world of common and natural objects, as well as the idea that reality is contained within the
objects themselves.

He thinks that if artistic processes aim for wholeness, they will make an effort to imbue their works with
a presence akin to that present in natural objects or the natural world.

He can thus relate to Handke when he says that his works "should not contain any additions, but rather
an awareness of details and of their interlinking to produce a(,..) Factual complex."

The key idea here is the reduction of the contents to actual objects. In this topic, Handke also discusses
faithfulness to objects. He wants his descriptions to be perceived as accurate representations of the
places they depict rather than just extraneous decoration.

Statements of this like assist him in accepting the discontent he frequently has while considering
contemporary architecture. He regularly comes across structures that have been carefully planned and
with a strong desire to find a unique form and I find that I am moved by them. The construction's lead
architect is not there, but he continues to talk to me and tell me the same thing again and over,
gradually losing my attention. While engaging the human visitor and enabling him to feel and enjoy it,
good architecture shouldn't be talking down to him the entire time.

Why are the simple but challenging answers so rarely explored, I ponder frequently? Why do we have
such little faith in the fundamental components of architecture—material, structure, construction,
bearing and being born, earth, and sky—and such great faith in spaces that are truly allowed to be
spaces—spaces whose enclosing walls and constituent materials are treated with respect and care?

Personally, he prefer the concept of creating and constructing homes from which he may eventually
withdraw, leaving behind a structure that is wholly unique, that serves as a place to live both inside and
separate from the world of things, and that eau marriage flawlessly without my own speech.

A building that is being itself, being a structure, not symbolizing anything, but existing, to him has a
wonderful stillness that he identify with qualities like calmness, self-evidence, durability, presence, and
integrity. Say that,

It is at rude effect, black reds,

Pink yellows, orange white, and

Too much as in the sunlight of their room.

Too much as they are to be changed by metaphor,

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Too actual, thing that in being real

Make any imaginings of them lesser things. Means

Say that the dark reds, pink yellows, orange white, and too many other colors, just like in their room's
sunshine, are having an unpleasant impact.

They are too real to be transformed by a metaphor, and since they are real, any imagined versions of
them become less meaningful.

This is the opening line of the American songwriter of introspective poetry "Bouquet of Roses in
sunshine." David Wallace Stevens

He learned about Wallace Stevens' willingness to take on the task of discovering and comprehending
things by reading the introduction to his collection of poetry.

His poems don't represent any form of protest, complaint, or voice of concern over a breakdown in law
and order. However, they are looking for a harmony, which is quite feasible and, in his case, can only be
the harmony of the poetry.

In an effort to identify his literary work, Calvino takes this line of reasoning a step further by stating that
they has only one defense against the loss of form that he observes all around him: a literary notion. For
Stevens, reality was the desired outcome. He did not seem to be impressed by surrealism since it invents
without finding, it seems.

He emphasized that the depiction of a shell playing an accordion is meant to invent, not to reveal.

Thus, this essential idea that he seem to find Williams and Handle and that he also detect in Edward
Hopper's paintings resurfaces: the spark of a piece of art can only be ignited between the reality of
things and the imagination.

In terms of architecture, he always reminds himself that the imagination and reality are the only places
where a successful structure may ignite its flame.

And to him, this is not a discovery; rather, it is a reinforcement of what he always strives for in his work
and a longing whose roots appear to go deep within him. But going back to the initial query, what reality
should he draw from when attempting to construct a structure for a certain setting and function?

he think the words "location" and "purpose" themselves hold some of the answers.

Living among things is the fundamental basis of human existence, according to Martin Heidegger, who
said this in his essay "Building Dwelling Thinking." This indicates that even when we think, we are never
in an abstract world but rather are constantly in a world of things. Heidegger said, "Man's relationship to
locations and to spaces via places is predicated on his dwelling in them."

In Heidegger's wide meaning of inhabiting and thinking in places and situations, the idea of dwelling
perfectly captures what reality means to him as an architect. What fascinates him is the reality of a

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tangible construction assignment linked to the actor state of habitation, not the reality of ideas isolated
from objects. Stone, cloth, steel, leather, etc.—as well as the reality of the building's structure—are the
realities of the building materials and the building itself that he used to create the building whose
qualities I want to penetrate with my imagination, evoking meaning and sensuality in order to ignite the
spark of a successful structure that can house people.

The physical structure in which shapes, volumes, and spaces are created is the reality of architecture.
Other than in objects, there are no concepts.

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