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MORPHOLOGY

antilogy --> noun, plural an·til·o·gies. --> a contradiction in terms or ideas (SYNONYMS:) antonym, obverse, antithesis, opposites

apposite --> adjective --> suitable; well-adapted; pertinent; relevant; apt: --> (ex: an apposite answer.) (SYNONYMS:) pertinent, relevant, germane, suitable appositeness

ad rem [Latin ahd -rem ] --> adjective - relevant; pertinent (ex: an ad rem remark.) --> adverb - without digressing; in a straightforward manner (ex: to reply ad rem.) (SYNONYMS:) applicable, apropos, apt, pertinent, relevant, germane, apposite, material ORIGIN OF AD REM: <Latin: literally, to the matter

antipode --> noun --> a direct or exact opposite. (SYNONYMS:) anthesis, inverse, obverse antipodal / antipode / antipodes / antipodean (directly or diametrically opposite; antipodal)

germane --> adjective --> 1. closely or significantly related; relevant; pertinent (ex: Please keep your statements germane to the issue.) --> 2. Obsolete. closely related. (SYNONYMS:) applicable, apropos, ad rem, apposite, applicative, applicatory, cognate (akin, associated)

chartered --> adjective --> (of a professional person) having attained certain professional qualifications or standards and acquired membership of a particular professional body

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CLASSIFICATIONS

Classifications Classification: What It Is and What It DoesClassification provides a system for organizing knowledge. Classification may be used to organize knowledge represented in any form, e.g., books, documents, electronic resources.Notation is the system of symbols used to represent the classes in a classification system. In the Dewey Decimal Classification, the notation is expressed in Arabic numerals. The notation gives both the unique meaning of the class and its relation to other classes. The notation provides a universal language to identify the class and related classes, regardless of the fact that different words or languages may be used to describe the class.The DDC is built on sound principles that make it ideal as a general knowledge organization tool: meaningful notation in universally recognized Arabic numerals, well-defined categories, well-developed hierarchies, and a rich network of relationships among topics.At the broadest level, the DDC is divided into ten main classes, which together cover the entire world of knowledge. Each main class is further divided into ten divisions, and each division into ten sections (not all the numbers for the divisions and sections have been used).000 Computer science, information & general works100 Philosophy & psychology200 Religion300 Social sciences400 Language500 Science600 Technology700 Arts & recreation800 Literature900 History & geography×

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REASON

reason “I stated that everything has reason within architecture. However, I believe it is important that you understand what reason means in architecture. Reason in architecture is not to be interpreted as some kind of easy recipe, a concept explaining everything… if one walks through a building:it is an important aspect of architecture that there is no full explination for understanding… it does not speak to you directly in the sense that the building tells you exactly what occurs. I do not think that the art form of architecture is predestined to communicate in such a manner… you, as an architect, must understand that your architecture is not understandable. As a matter of fact, you should know that it is a good building if it cannot be completely conceptualized.” (Breitschmid, Olgiati, 13-14)Where then is the line? The boarder between intensly reasoned, conceptually rich and fully concievable? If it is nothing more than a mass of nonsense and confusion, it is not architecture. So, it must be reasoned; that is, there must be intention, concept, and reasoned coherence. But this reasoning, when made too blaringly obvious and explicit, so too is the mass not architecture. There is a line, a line between nothing and everyhting, and this line is where architecture ought reside. To achieve complete and utter clarity in a design leaves noting to be imagined, nothing to be discovered, and little to be experienced.Architecture as a built construct is a participatory mechanism. For an architecture to preform is for its occupants to engage in it - to participate in its posed conversation, experience, and essence. When an architecture preforms, it is dynamic, but while this is possibility enabled by design, it only manifests as a reality when participants render it as such.Dichotimous contradiction enables extremes to coexistPuzzling extremes, interlacing one extreme with another culminating in a complex composition of contradiction. THe interaction of the dichotomy is one in which the holistic median may be implied, experienced, and engaged with.These are not impartial constructs though. The ways in which these antilogies are interlaced reveals the claim of the design while allowing a subjective response.By means of contradiction, holistic conceptual provications find physicality and forum.Architecture is borne out of an idea- and consistence of this idea. Inconsistence does not a contradiction make. But the contradiction must be foundational to the idea itself. If the idea is the contradiction between privitized and unconstrained demarcation, then the idea is consistent and so too is the design if the idea drives it throughout. If, on the otherhand the idea is community and then the project changes to a chartered idealzation, there is contradiction but so too is there inconsistency.The idea is the intention. It sets the rules and parameters against which every design decision is made.“There is architecture that is made out of itself. There is architecture that is not principally contextual… That kind of architecture is governed by an invention that stands at the outset; an invention is its origin… you could put this building anywhere you want and it would work in the same way. So, the setting of the building is not that inportant on that primary level of what the building fundamentally does and what it is… It is this kinf of generality that I find interesting right now in my architectyral practice: what to do with that generality, because that kind of generality in architecture demands an invention of order htat are not based on certian contextual types and motifs as they exist in the vicinity. And again, these inventions could exist anywhere.” (Breitschmid, Olgiati, 31)“I find the distinction between a non-referential and a referential approact more interesting because it seems a more elastic set of thought models with which to approach architecture.” (Breitschmid, Olgiati, 33)