By Ann Cline
This small e-book on small dwellings explores many of the greatest questions that may be posed approximately structure. What starts the place structure ends? What was once earlier than architecture?The ostensible topic of Ann Cline's inquiry is the primitive hut, a one-room constitution equipped of universal or rustic fabrics. Does the proliferation of those constructions in recent years signify escapist architectural fable, or deeper cultural impulses? As she addresses this query, Cline gracefully weaves jointly tales: one in all primitive huts in instances of cultural transition, and the opposite of diminutive buildings in our personal time of architectural transition. From those narrative strands emerges a deeper inquiry: what are the limits of structure? What ghosts inhabit its edges? What does it suggest to reside open air it?Cline's undertaking begun twenty-five years in the past, while she got down to translate the japanese tea ritual into an American idiom. First studying the conventional tea practices of Japan, then development and designing huts within the United States, she tried to make the "translation" from one tradition to a different via using universal American construction fabrics and expertise. yet her research finally led her to examine many nonarchitectural principles and resources, for the hut exists either before everything of and on the farthest fringe of structure, within the margins among what structure is and what it really is not.In the ensuing narrative, she blends autobiography, historic examine, and cultural feedback to think about where that such constructions as shacks, teahouses, follies, casitas, and diners--simple, "undesigned" areas valued for his or her timelessness and authenticity--occupy from either a historic and modern point of view. This e-book is an unique and ingenious try to reconsider structure through learning its boundary stipulations and formative structures.
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Extra info for A Hut of One's Own: Life Outside the Circle of Architecture
In huts, like those of solitary hermits, followers of this regimen “give themselves over to the contemplation of the things of nature . . [and] contemplate within their souls with all peace and modesty the things that they see there and thus 39 A “goodly huge cabinet” of visible signs and signatures Credenza Curiosa, Opificio delle Pietre Dure, Florence In huts for Tea, they contemplate the things of nature Ennan teahouse, Yabunouchi Ennan, Kyoto, late sixteenth century “I run across something .
I began to imagine what it might be like to be a guest there, to see a figure moving with slow, deliberate choreography. I imagined myself relaxing, awaiting the rest of the show. I imagined the moment the bowl would be put before Primitive Huts 36 me, when I too became a performer of slow and deliberate choreography, all the while taking in, as well, the sounds and sights of moments around me: birds, shadows, branches. I filled in a small proscenium of plywood above the loft’s beam, and I learned Tea’s simplest choreography, sometimes called obon date.
The first entrance I made prompted me to build a tiny porch roof, supported by a slim piece of tree trunk. But after 29 Interval: The Hut in the Backyard Tree trunks and falling leaves became passionate vignettes Primitive Huts 30 The square window where kettle and bowl were finally at rest 31 Interval: The Hut in the Backyard I frequently found myself sitting at the doorway, scribbling in my notebook, I filled the opening with a window, and below it a small writing shelf. While I no longer had an entrance, I did have a place for my books.