Architectural research is usually focused in designing “new” which is sometimes constrained to a sculptural representation of form. These forms may concern impressionistic shapes of spaces producing interesting perspectives in three dimensional world, nevertheless do not exceed the exteriority of German expressionism cinema. Dr Calgary’s workshop recommends nothing less than a building complex of Tom Mayne concerning its scene projections or perspective views in space. Yet, the genius of Mournau succeeds in creating an atmosphere of outlandish which fails in the case of architecture purpose of Mayne as shocking experience multiple space possibility. There is a contemporary tenacity for “pan-optic” for constantly searching the new – the one that differs from the custom – that results to a garrulity of pluralistic forms which are this way self destructive in order to become self exposed. Organic structures are thus the motif in the fanade of science. Resultantly, we come to face pseudo-scientific aspects of design in which molecular structures in the discipline of biology for example are consolidated as footprint on designed forms or programs. Unfortunately, this “new” mode is only about another morphology as fragmental representation of a bio – microcosms.
All these “organic” forms interpreted in means of space structures, almost aesthetically or physiologically dangerous are results of the intention of “new” which proposes a finally “same” reality!
The notion of Deconstruction as cultural achievement is only an incongruous remark for architectural designing of “new” form. The construction exists either as parameter or system of parameters – software – or as instant information behind the contemporary production of form. What lacks is perhaps the preinstalled image established by the modern movement. Modernity in a way, counterbalanced quantities, shapes, parts through function and aesthetics of the modulus’ structure for as much as perception of the analogue could permit. Thus never was it acquainted with “special” distinctive quantities or digital compensations related to its form.
Modernity structured a “new” commodity together with an altered perception of aesthetics without the pursuit of any “new” fable in itself thus being developed harmonically and in accordance to its current times.
Contemporary embarrassments of any “new” as a difference, suggests an awkward and pointless recycling of the “same” thus producing mere images of what has been already interpreted in other and perhaps sometimes even stronger cultural forms.