Four Corners of the Gaminite Circle

This text represents the normative grammatic for understanding the architectural project “The Three Corners of the twofold Circle

Prologue

Four Corners of the Geminate Circle is a Jungian concept that will be the central theme of this text which will once again culminate in architectural exegesis. Besides Jung’s thesis, the aesthetic categorization by Benedetto Croce will also be represented here, as well as the idea of a living, or better yet, lived conception of theatre.

Although it seems random, the selection of these three themes, which are combined into one, have more similarities than can be assumed.

Carl Gustav Jung – The Compass of four Temperaments

“The Compass of four Temperaments” – is an image type representation of Jung’s personality categorization. In the “Psychological types”, in addition to the basic division between extroverted and introverted types, Jung introduced the four subcategories (thinking, feeling, intuition, sensation).

The Compass of four Temperaments is oriented in relation to its own opposites. Thus, in contrast to thinking are feelings, and sensation is the opposite of intuition.

Benedetto Croce – Aesthetics

Benedetto Croce, in his “Essays”, defined several types of art according to their aesthetic intensity or value. We will make use of three basic types, which may involve the largest part of the artistic work. He (Croce), categorised these types qualitatively from the lowest, satisfactory visual representation, through the middle which he called “minimal logic”, in which art conveys some form of knowledge, to the highest, or “intuitive” art. Three Corners of the twofold Circle falls under the “minimal logic”, type of work since its main focus is on establishing architecture as a possible educational apparatus.

Theatresports, or life as a Performance

Theatresports is an interesting concept that we will observe more as a philosophy than theatrical practice or theory. This modified scene-idea consists of interactions. The interactions of the audience and the actors, shows and observers. Incorporation of planned scripts and spontaneous reaction. Merging of the audience and the scene. The scene on which no one performs, but the performance that is being lived by everyone. The stage where the stereo and proto-types are precise, elaborate, and all figurate together.


Rational Theatre – Act 1

By taking into the account strict dual division of our split-sided circle, we came to the conclusion that the “rational theatre” is the one that should convey the most knowledge.

The Choice

In the architecture of rational construct, we become aware of one particular element principle. This element is the main constituent of reasoning-suprastructure. It is a Choice. Since Sartre most famously stated “man is condemned to himself”, he also condemned him(man) to the inevitability of choice. Among others, pre existentialist philosopher Otto Weininger discredited this condemnation to freedom for its contradictory (we have to choose, ipso facto we’re not free).


Emotional Theatre – Act 2

Emotion, by itself, is proto-existing. The condition of its existence is belonging. It remains a non-existing unit it becomes the property of its carrier, only then it becomes real.

If we imagined and dreamingly-designed emotion and what such fantasie carries, certainly that we would come to the fluid (organic) form. Open and free-figure phantasmagoria. In some cases, hidden and geminate in other revealed and playful. We would come to the architectural algorithm* which moves in waves and arcane intervals. The rhythm of these intervals is not moderate and uniform (“Roads of excess lead to the palaces of wisdom” – William Blake). Not predictable and schematic. Some of the intervals have introductions, development and dismissals. In others, the entire composition is a big crescendo. The third one serves as an undertone and has profound connotations.

Irrational content is here and it is flawless and a part of the deep spirit of the time. As such, it should be accepted, recognized, and from it should be learned. The main feature of this irrationality is not in its inhibitory properties but in its ability to upgrade and create. Any desire, hope or belief is built on these channels of irrational-emotional content.


Intuition theatre – Act 3

The problem of isolation, or a try for authentic originality at all costs, has led to the fact that the boundaries of artistic works are also the limits of any existence. Possible-world, or world of possibilities and absolute relativity, which stands in the background of artistic creation has been discontinued. Simplified, today’s works of art do not recognize any context from which they were built, or anticipate any context of what’s coming. The idea of Jung’s suggestive incompleteness in the artwork is completely replaced by the idea of harmonious perfection. The works are sentimental, completed and fixed. The monumentality of past artworks, which was evident in their width and transparency (transparency where the spirit of the time was visible), is replaced by vertical suggestions and imperatives of harmonious cemented compliance.


Sensation Theatre – Act 4

Architecture is by its constitution and method of consumption visual. Only after that, it is textural and finally auditory. Because its basic characteristic is a physical manifestation, that we understand through the senses of sight, we will remain in this field.

How do things look like and whether behind the looks hides some real or semi-real wealth, which in metamorphosis enriches the inner world of spiritual needs, is the big question today. If we stick to the mainstream media and the vast majority of today’s visual authorities, we will easily come to the conclusion that behind the physical appearance stands nothing. Not for the reason that under these superficial shells is something missing, if we start to dig, but because we come to the disappointing conclusion that there was nothing planned to be hidden so that it may be discovered. Integument has its own and closed purpose of a momentary appeal to the observer (the interpreter). The harmonic perfection of its architecture creates a sense of logical consistency and gives the viewer a sense of satisfaction because they understood the presented Sintema*.

Not long ago, the concept of decorative shells, which serves the purpose of ornaments-decorations, that is hooked over certain functions, were considered the definition of kitsch. The vulgarization of ornament-statements and pandering of sense-ideas to the good looking-ideas spawned a host of stylistic figures, or even better stylistic caricatures, which tells stories of their own absurdity. The former idea that the meaning is constituted in the breaks of the absurd and absurd is found in the intervals of the meaning, is replaced by the esthetic emptiness. This aesthetic prosthesis is so effective in its functioning that although it is a simulacrum of reality, the collective imagination declared it as an authentic authority.

Sintema* – short and vague phrase that should be resolved like a puzzle