By Ann Cline
This small booklet on small dwellings explores the various greatest questions that may be posed approximately structure. What starts off the place structure ends? What was once ahead of 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 buildings lately characterize escapist architectural fable, or deeper cultural impulses? As she addresses this query, Cline gracefully weaves jointly tales: certainly one of 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 stay outdoors it?Cline's undertaking all started twenty-five years in the past, whilst she got down to translate the japanese tea ritual into an American idiom. First gaining knowledge of 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 know-how. yet her research finally led her to examine many nonarchitectural rules and assets, for the hut exists either firstly of and on the farthest fringe of structure, within the margins among what structure is and what it truly is not.In the ensuing narrative, she blends autobiography, historic learn, and cultural feedback to think about where that such constructions as shacks, teahouses, follies, casitas, and diners--simple, "undesigned" locations valued for his or her timelessness and authenticity--occupy from either a ancient and modern point of view. This booklet is an unique and resourceful try and reconsider structure via learning its boundary stipulations and formative structures.
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Additional info for A Hut of One's Own: Life Outside the Circle of Architecture
Purposely leaving some thing unfinished for the play of the imagination to complete”18 —not only defined the hut I wanted to build but also outlined the vision I couldn’t describe when, as a child, a storm caught me inside my lean-to hut. Okakura proposed a vast game of objects in a small space, a space separated from weather and season by the merest membrane: a small dwelling intensely inhabited and occasionally shared. I imagined an American tea ceremony. Still, even armed with Okakura’s poetic blueprints, when I contemplated building my first hut outdoors directly on site, I found the prospect scary.
At that point, I realized the full power of the tea ritual, a thing I had heretofore resisted because of its exoticism. But unlike rituals of other sorts, the tea ritual had nothing to do with meaning but everything to do with performance: the action on stage that stills the anxiety of humans huddled close upon one another. 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 have added a lean-to on the south and a porch of bamboo. On the west I have built a shelf for holy water, and inside the hut, along the west wall, I have installed an image of Amida (Buddha). . When, as chance has had it, news has come to me from the capital, I have learned how many of the great and mighty have died since I withdrew to this mountain. . ”16 The catastrophes that devastated Kyoto and all Japan toward the end of the Heian period (782–1185), an unfortunate confluence of warfare, famine, earthquake, and disease, most certainly caused some of the deaths to which Kamo no Chomei refers.
A Hut of One's Own: Life Outside the Circle of Architecture by Ann Cline