Entropic Monument
The Thesis aims to consist the idea of ‘entropic monument’ . Entropy as a second law of thermodynamics provides to a system the power failure by transforming it in a formative and evolving condition. A remarkable entropic phenomenon of what we call entropy in domestic life is the ice melting in a warm place. As R. Smithson mentioned such a kind of event creates the mood of euphoria or empathy. In every energetic transaction there will be an increase in entropy. There is something called entropic misfit. Broaden the meaning of entropy everything ends up, but there is evolution and life continues. There seems to be an oscillation by all systems respond to these two poles. The creativity reflecting in fitting as opposed them to randomness , disorder, degradation and misfit.
Through the passage of architectural history the human’s necessity of spiritual displacement or in other words the deconstruction of space beyond the obvious established foremost in Renaissance buildings. Displacement concepts found in monuments dome structures which operate like a multilayered place of spiritual expression. The historical domes remain structurally static but they are almost offering a virtual sense of connection with nature. Even though the dome was merely the abstraction of space between light, spirit and structure, there is the 'organic' notion of life and time. Whenever we bring life-time to mind the terms of discussion instantly shift into a different register. It is as an explosion of energy between biological existence and the matter itself. The very force of this energy is a part of the reason why, between architecture and life , there is a relation of ‘entropy’.
The essence of entropy in geological scale is the event of displacement which happened million years ago through the continental drift. Every stone, every part of land has been located in different places but therefore its primary magnetic orientation remains as fossil.
The juxtaposition of irrelevant time brings the notion of the new monument closer to an open system ‘form’ rather than the old monuments which are involved in a ‘systematic reduction of time down to fractions of seconds’ as R.Smithson refers.
In our contemporary world the range of incompatible scales are increasing rapidly. For instance Dubai Airport has been designed for a capacity of 180 million people per year, geologists concern about billion tones of ice and glaciers, gigantic mechanical systems is build for extreme micro-scales investigation. The variation of scales expanded; What is the notion of the new monument beyond the ‘theocratic nature’? Is this affect in social perception? Is the Marcel Duchamp’s Box in Suitcase – and its perspective of cabinets of curiosity- a performance place to proceed a monument? However we can define the monument as a tree of time scales. Past and the future coexisting in space and form, the present reflected on the selected material(s) of architecture.
In the accidental events of nature such as tornados, the hierarchical resistant of materials differs and accounted in someway from the flexibility of adaptation in a new condition. A careful observation in Ururu mountain –an uncertain origin hill formation in Australia- indicate us the wind direction leaving traces of corrosion. In this sense in our artificial nature we can refer the machines as entropy’s supporters, enforce us to leave closer to extreme conditions; the distance between them shrank. Traveling by airplane a sequence of air extremes unfolding, the controlled cabin air, the environment temperature -40 and the air pressure in turbine.
We can mention here the Ian McHarg’s text about the multiplicity of environment: “The fact of the matter is there are an infinitude of environments, there are an infinitude of organisms and there is a requirement for every organism or any system to find the fittest of all available environments, to adapt that environment, and to adapt itself to accomplish a better fitting. And there will always be a need for improving the fitting because the organism modifies the environment and some environments then change and evolve too. So then the question is what constitutes a fit environment?”
The adaptation of architecture in existing environments is the preliminary position of study which combines environment, nature and tectonics.
1. Robert Smithson: The Collected Writings [Paperback] web source :www.robertsmithson.com
2.Principles of Art History- Heinrich Wölfflin From closed (tectonic) form to open (a-tectonic) form (The closed or tectonic form is the composition which is a self-contained entity which everywhere points back to itself, the typical form of ceremonial style as the revelation of law, generally within predominantly vertical and horizontal oppositions; the open or atectonic form compresses energies and angles or lines of motion which everywhere reach out beyond the composition, and override the horizontal and vertical structure, though naturally bound together by hidden rules which allow the composition to be self-contained.)source Wikipedia.com
3. Ian Mc Harg- Fitness, the Evolutionary Imperative –essay / Dimensions of Sustainability –Andrew Scott p.15
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