Chaos Space

Written by Brandon Aleson

 

"Architecture has always represented the prototype of a work of art the reception of which is consummated by a collectivity in a state of distraction"

 

"Buildings are appropriated in a twofold manner: by use and by perception - or rather, by touch and by sight."

 

"As regards architecture, habit determines to a large extent even optical reception."

 

HUMANS are born into, exist in, and interact with space. Here we speak of an inherited space that is both conceptual and physical, terrestrial and cerebral - and, most importantly, omnipresent. And although this malleable glob of conceptual physicality is relatively infinite in terms of human perception, it is always defined by sets of bounding parameters. These sets are of two types: INTENTIONAL and CHANCE. The intentional is best represented by the idea of a building. Architecture, possibly the oldest human art form: the conceptual interaction with our infinite surrounding which tends exclusively toward defining the spaces we inhabit into inhabitable spaces. This process should not be confused with limitation, since with architecture comes the ideaaction of "construction" - or, in other words, "deconstruction," which alludes more directly to the method of processing a raw whole into distinct parts. This process is constituted by two seemingly opposing forces: creation and selection. These two principles work in a dynamic, symbiotic relationship where new distinct spaces are created via the

selection and processing of a part of the original whole; both enumerations are part of the same body, and both are different. Take for example the inside of a perfectly square building. Within this bounded space, there is an infinite number of possible patterns for the physical organization of its area. Let us simply say that the architect decided to divide this square space into 200 smaller squares, using a particular building material, such as wood, plaster, concrete, or aluminum. This is but one design which frames the possibility of an infinite myriad. Now, imagine a building in the shape of a triangle which has the same area as the perfect square. Within this bounded space exist an infinite number of possible patterns for the physical organization of its area which are different - some exclusively so - from the possibilities available in the square. This, for all intents and purposes, is chaos. Here we touch the spine which is shared by both intentionality and chance; by human design and an infinite other: conscious construction reveals the unconscious void in both space and mind. Through the intentional design and construction of buildings and cities, open space and inhabitable space, we have inadvertently created a network of in-between spaces: spaces which are habitually incorporated into our interaction with and understanding of our constructed surrounding: corners and gaps, underneath and inside; over and around; sideways and upside-down; above and below; through and throughout; dark, dreary, drab, unseen, off-limits, abandoned, neglected, unfound, mistaken, abstract, other.