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ARQ (Santiago)

versión On-line ISSN 0717-6996

ARQ (Santiago)  n.74 Santiago abr. 2010

http://dx.doi.org/10.4067/S0717-69962010000100006 

ARQ, n. 74 Leisure, Santiago, April, 2010, p. 34-35.

READINGS

Everyday Leisure

David Jolly *

* Professor, Pontificia Universidad Católica de Valparaíso, Valparaíso, Chile


Abstract

The daily situations observed and drawn by an architect are configured as a base of every project. In the case of the hobby the positions that collect the different experiences are measured. In this way the body collects the relaxation of underutilized time in each part of itself.

Key words: Architecture-theory, hobby, drawing, contemplation, observation, experience.


Leisure appears to be in direct opposition to business. Business is an action that pursues a known end, one can for see its result. It knows or has a predetermined aim, this direction sustains, justifies and allows.
Now an activity exists that we call the hobby. Here, we can conjecture that the human condition tends to become available to itself.  It culminates in this availability to which it is not obligated. Earning a living is an unavoidable condition. It is to be obligated. It is business. This business has the hobby as its counterpart that is to designate time to an activity that entertains or distracts.  One characteristic of the hobby is that it doesn't involve the person who carries it out. It does not imply involvement, thus producing relaxation despite facing something consistent. They face a passive structure from the outside, at a distance.
Akin to this reality we have the game in which time itself is the aim and lies at the extreme of leisure. However, I would like to address another area of leisure where its fragility is more exposed. The first characteristic of that can be supposed is that it completely involves the person taking part. It consists of an activity of the spirit that is known as such and must be sustained. This is because it is situated in that which is neither known nor foreseeable. One way of naming it is contemplation.
Now, as we live the experience of leisure as contemplation we fall into the account that it is extremely demanding of certain conditions to be as such. This could be explained in a new  recognition that leisure is not an idleness that wanders without aim nor a digression.
In this manner it appears that not just anyone can access leisure. It is not available for just anyone; it has requirements. The hobby is available for many, if not for everyone, because it is a rest without involvement. The digression obtains its justification by being a hobby or is becomes just an error.
Leisure is open to those who build an extension where possible, lets call it an elemental mode, a field. And specifying the reality of a field where contemplation occurs.  In this way leisure is the polar opposite of business in that it the end is unknown and runs the risk of opening onto a possible  reality.
For some architects, we have been given a method of leisure configured in the field of drawing. This is an area that constructs an elemental method of abstraction. Whoever draws, draws with their present body on the outside and that which restricts them on the inside. It is situated in a creative field where drawing extends before the eyes that see. The person that looks when he focuses on something can say that he has seen. This step of seeing is with the word. That which is seen has a part seen with lines and another seen with words.
This pause without foreseen intention meets at least two dimensions on paper that support the drawer and sustain the drawing.  The contemplator fixes what he sees in the drawing with his sensibility to perceive what is present in the instant; from the multiplicity of facts occurring in this pause, what he draws decides that which remains, an abstraction.
The second dimension configuring our field is not only sensitive as the present world comes to be in each instant simultaneously in the memory of the contemplator. In this way the drawing abstracts from the abundance of the extension, choosing details and leaving others.  In saying that the construction of the world is made present that we carry in our memory and is presented in the mind of the contemplator and is the one fixing on the drawing.
This manner of leisure in the field configured by the drawing and the world we architects exercise in the extension of the world we inhabit; we contemplate the world in how it is erected in the habitation of man.  We sense that contemplation is a high manifestation of leisure understood in the terms we have exposed and are opened to the possibility that only the free man can exercise. 
Now this way of contemplation does not mean to say that it is built on a useless activity. On the contrary, the identity of the sketch is the contemplative heart that each architect sustains and carries with him in abundance. To be without a predetermined aim is his speculative conscience. The observed guarantees no upfront results besides the base that is the origin of its authority. The architect is concerned and knows experience the act of habitation through the drawing. How men inhabit today, how this extension has become space, contains all the tradition that is original invention that sustains us in the present. We accompany this brief text with some sketches that give account to this contemplative possibility, previous to the principles that make up leisure.


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