The hut is an abstract concept. The tree-columns are rooted to the ground. They are alive. The foliage, although trimmed, provides a lush roof canopy. The dweller fills in the rest.
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The hut is an abstract concept. The tree-columns are rooted to the ground. They are alive. The foliage, although trimmed, provides a lush roof canopy. The dweller fills in the rest. In the drawing, Architecture, represented by a woman, leans upon the ruins of the classical orders. She points to the hut. A cherub, the embodiment of all that is ornate and capricious in art and architecture, looks to the hut in confusion, as if to say, "Am I to adorn that Once the destination is known and the style gout chosen, the character of the building is fixed.
Over decades, virgin wood petrifies and acts like stone. Even when synthetic or man-made materials are components in the overall construction of a house, nature plays upon them anyway. A house, like any structure must breathe or it will rot away. Not unlike a body with skin, a house is a filter of weather, time, use, history, occupation and nature.
We may live in a big city surrounded by the densities of urban life or in a country field surrounded by the densities of local climate. The house is a body for living. It is a frame and filter for viewing life. It is simultaneously an inside and an outside. It is a human nature. Posted by.
On the banks of a quietly flowing brook he notices a stretch of grass; he is drawn there and, stretched out at leisure on this sparkling carpet, he thinks of nothing less than enjoying the gift of nature; he lacks nothing, he does not wish for anything. But soon the scorching heat of the sun forces him to look for shelter. A nearby forest draws him to its cooling shade; he runs to find refuge in its depth and there he is content He leaves and is resolved to make good by his ingenuity the careless neglect of nature. He wants to make himself a dwelling that protects but does not bury him. Some fallen branches in the forest are the right material for his purpose; he chooses four of the strongest, raises them upright and arranges them in a square; across the top he lays four other branches; on these he hoists from two sides yet another row of branches which, inclining towards each other, meet at their highest point. He then covers this kind of roof with leaves so tightly packed that neither sun nor rain can penetrate.
ESSAY: The Eternal Return of the Primitive Hut
Laugier suggests that, until now, artists have been arbitrarily establishing their own rules, many of which rely on observation of ancient buildings as their bases and validation. The shortcoming of this method is that artists not only copy the beauty found in these buildings but also the mistakes and flaws. Without a set of principles it is difficult to distinguish between good and bad design, and the two consequently get confused. Imitators have also found incorrect flaws in examples, and due to their lack of original thought, they consequently led with error. Artist should have the ability to defend and explain their work, and in order to do this they must follow firm guidelines.
The Primitive Hut
Illustration in the public domain courtesy of Open Library, openlibrary. The Primitive Hut Idea by Laugier Laugier theorizes that man wants nothing but shade from the sun and shelter from storms—the same requirements as a more primitive human. The horizontal pieces that are laid upon them, afford us the idea of entablatures. The essay is considered a major treatise in architectural theory. It is often cited by teachers of architecture and practicing architects even in the 21st century.
The idea of the primitive hut
This conception of the origin and history of architecture is adopted in all early modern treatises. It is the result not of archaeological investigation or speculation, but of a typical Enlightenment thought experiment. All buildings therefore always refer back to this first model, which embodies suprahistorical design principles. But how this is achieved, is left very implicit.