Let us direct our gazes at an object! The sentiment we experience derives from the manner in which the object affects us.
A motif is a recurring theme in a literary or musical work. It can be a form, shape, or figure in a painting and, ultimately, any salient narrative feature within an artistic composition that engenders an affect.
An architectural motif is situated between a model of systemic iteration, as in J.N.L. Durand’s notion of typology as a projective series of schematic variations, and Quatremère de Quincy’s concept of a type that deductively construes an indefinite ideal that is deprived of any formal parameters. Consequently, it is a combination that enables indefinite, sensual impressions to materialize in a definite, graspable form.
Five Motifs of archaic buildings from different cultural pedigrees (Mosque of Córdoba, Naksansa Temple, Fujian Tulou, Medhane Church, Bandjoun- Hut) evoking humane sentient dispositions (levity, ardency, placidity, humility, curiosity) are portrayed anew in a contemporary design. The reinterpretation of these dissimilar cultural constructions entails a conscientious shift toward cross-cultural common grounds of intuition. Contemporary architecture is oversaturated by an unprecedented abundance of styles that are not rooted in historic continuity. As an antidote, the motifs are streamlined to their essence by the act of purification. The ongoing debate about the reestablishment of the Bauakademie by Karl F. Schinkel in Berlin sets the framework of this thesis, which embodies an alternative to the planned, nostalgic verbatim reconstruction that was recently issued by the German Parliament.