Design intentions
Sequences „ Events „take place“. And again. And again. “ ( Bernard Tschumi ) 5 x Key sentences However, in conformity with which sequential frame has the character of movement it could be either the means of video framing or framing video material Partisioning of the sequences and the visual progression they build we can directly match with a text or a narative, where the visual – signs or words - are getting the meaning and they are absolute only if modeling the row of linked frames Facades are just individual sequences belonging to the object of view while synthesizing its final mental image – imaginative facade Spatial perception is linked to the state of consciousness of the spatial user but not to the exactness of 3- dimensional appearing of the Architectone With establishing the voids equal to artificial plastic bodies as the plug – ins of the final spatial architectonic composition, we are redoscevering the final performance of the architectonic structure 5 x Key words to move performance to match void textual SYNOPSIS AESTHETICS – ARCHITECTURE – DYNAMISM < CONCEPTUAL DISCUSSION (DYNAMICS-philosophical and aesthetics category; natural science about forces and moving caused with that forces) Thesis shaping is directed to the analysis of values of dynamics which is becoming substantial creating aspect of architectural behavior through the conceptual level. However, conceptual approach will dominate over researching using aesthetics analysis of dynamic value of the movement with which is going to be dissolved and explained the substance of his influence at the field of experiencing the volume of an artifact, spatial ceremony and their each other stipulation. This concept we can match with the Japanese understanding of the Ma word that is defined as the space with over directed perpendicular lines of the plane in between the volumes, fulfilled with a continuity in the space viewed as an architecture that had lost its conformity because of mental sensing the user of the space described as unstable, temporary underlined unique wholeness of the forma and the scene including the possibility of constant changing. That in fact is the dynamic quality of an aesthetic object – event. Inside the mentioned void, that is the volume of all synergies, the forma is becoming through constant moving that is actually the substance of the sensing - viewing, and the sensing objects are becoming the substance of the finally perceived image. With paraphrasing Toyo Ito it could be signed as a space between word that is said and the word that is just going to be said. After first user s impressions an architectural artifact is practically gaining new programmatic founding. Every user is managing its own functional definition of the space. Every program is rediscovering different flexibility and so it becomes circulus viciosus of polisigned functional founding of the existing architectural achieving. Every individua posses its own mental map of its own movement line and if there is 100 different people there is going to be 100 different spatial experiences. An important paragraph would be that there does not exist any kind of artificial object as isolated, abstract appearance because the things are just the sectional points of the event, levels inside the process. In Japanese phonetics abstract movement related to the verb inside the Indo – European group of languages is not possible as existed and the cause is that the noun and the verb are reversible, not separated proceedings – fact in the movement, movement in the fact, noun inside the verb, verb inside the noun. Movement is directly linked exactly to the syncretism of an artist, artifact, event and the user who aesthetically move dynamics creational process of enduring aesthetical judgment of the primordial architectone. Relation established between the objects and the city than becomes more<