There by Laugier’s original architectural proposal, contradicts Schmarsow’s theory

There are also links to be made between
the works in terms of their site-specificity, and how this alters our
perception of interior and exterior space. As previously discussed,
site-specificity has played an important part in the Camera degli Sposi as well as Turrell’s Deer Shelter Skyspace. Graham’s Two
Adjacent Pavilions was originally exhibited at the Fridericianum Museum and
was the first of many architectural works that he exhibited outdoors. ‘Typologically,
the work belongs to the park/garden’s pleasure pavilion. (…) These pavilions
are used for people at restful play – a fun-house for children and a romantic
retreat for adults’ (Graham, 1999, p. 175). Graham also discusses his Two Adjacent Pavilions in relation to
the rustic hut. The 18th
century concept of the rustic hut was
the idea of the urban planner and theorist named Marc-Antoine Laugier
(1713-1769). As one of the first known architectural philosophers of our time,
Laugier aspired to strip architecture back to a simpler form, intending to
reflect its basic function as a shelter without adding any unnecessary
aesthetic effects. ‘The “rustic hut” was supposed to be a reduction to man’s
and architecture’s original nature, to its “own self-sufficiency,” when there
was no oppression of man by man: Architecture and Man were closest to “Nature”‘
(Graham, 1999, p. 175). Contemporary fine art lecturer Bernice Donszelmann
presented ideas surrounding public park pavilions in her lecture Body Building (2016). She recognised
that the common pavilions found in parks today are able to provide shelter, yet
appear as just the sparse skeletons of buildings. Like Laugier’s proposition of
the rustic hut, they have no or few
walls, and as public pavilions, they lack the privacy that has been so valued
in architecture throughout time. This type of architecture, which we can assume
has been heavily influenced by Laugier’s original architectural proposal,
contradicts Schmarsow’s theory that architecture’s most significant function is
to divide space and create enclosure. Graham’s Two Adjacent Pavilions gives insight into these ideas and
contradictions, as it sits somewhere in between a public park pavilion and a
complex artwork. Like Laugier’s original concept of the rustic hut, the work, placed outside in a rural setting, links man
and nature together. This is emphasised through the reflections and illusions
of the natural environment created by the glass, and is experienced by the
viewer from both the inside and the outside of the pavilions.

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