Kailin Deng & Chong Xu-Views of OTHER GEOMETRIES (John Rajchman)

Today, armed with computer, it is a fashion for architects to depart from orthogonal and the rectilinear, but what this allows us to do? And how does it affect us? The author gave us an example, the Aronoff centre, designed by Peter Eisenman in 1996
Multiple vanishing points (Inspired by the painting of Piranesi)
The sinuous, skew geometries of the connective tissue introduce a sort of “affective space”, unanticipated encounter and connection. Letting people see and be seen from odd angles. It shows that great classical convention to be constricting or limiting. Geometry is something more than a simple decoration or sculptural form given to a calm external eye. Forms are used for other aims, to affect us in other ways. After this example, author put the question:

How can other geometries help change the very sense of “constructable space” and so of what architecture may yet do?

He tries to get at this question and this ambition through a brief excursion into some related philosophical problems about form and geometry, which might in turn take us back to architecture and this architect.

Learning:
I think the aim of this text is to let us know what can be done with the development of such geometries by the use of computer and designing software.

Effective and affective space
Effective: draw all the lines from various geometries from the fixed point of a prior system. (Along normal rules)
Affective: works through a more informal diagram which throws together odd features in a loose intuition. (Has own rules)
Other geometries are given by intuition (including thinking and feeling) rather than deduction, by informal diagrams or maps that incorporate an element of free indetermination rather than ones that work with fixed overall structures into which one inserts everything.

Less “systematic”
Alternative geometries suggest releasing forms from the sort of spatial system which defines and fixes shapes, organizes visibility. Loosen the spatial construction up, it become less “systematic”, more incomplete or formless, its forms or figures become more singular, more original, more plastic. Free to behave in other, less predictable ways of affect us along other, less direct lines. Make it unique, single. Also need to create a free operative flexible space dealing with sensation and bodies.

Here are some other examples about this topic: