Freedom in the Choice of Material
The architecture of other bodies, as a rule, is closely related to art; therefore, any creative activity every year more and more expands the boundaries of what is permitted. When creating images, it is possible to use well-known familiar or unfamiliar materials that the creator will like. Other researchers call this point: “everything is a brick” (Holder, 2017). Thus, the boundaries between architectural traditions and freedom of creativity in art are erased.
Lack of a Plan
Different goals can be pursued by creating a body that is far from the ideal forms of the Vitruvian man. However, photographic accuracy and styles of well-known architecture have already taken their place in the design of such bodies (Grosz, 2001). Other bodies were left out of the game, which not only makes it possible not to rely on previous experience of architecture but also often does not imply this experience at all.
Lack of Strict Rules and Forms
Freedom in the choice of material and the absence of a plan make a logical conclusion at this point. For reasons of strength, safety, and comfort, the architecture of buildings has incorporated a particular set of rules for each style throughout history, which is confirmed by similar Five Points Le Corbusier (Gans & Corbusier, 2006). However, each component can have its form and material and dictates its own rules in a new composition, which is why the overall picture obeys each rule of each component, but not too strictly.
Interaction with the Environment
In the architecture of other bodies, the point of view is consonant with art that the place where the body is located is no less important than the composition itself. The background becomes another component of the overall work, which is dictated by the craving for aesthetics or, on the contrary, for its absence (Day, 2017).
Lack of Boundaries of Personal Space
Such freedom in the architecture of other bodies makes it possible to demonstrate everything clearly, appealing to the feelings of the beholder, who finds himself in a situation of universal publicity (Caroll, 2017). Holder called this the lack of facades to be closer to the terminology of Corbusier (2017). As a result, there are not a lot of strict boundaries that must be taken into account, as in the construction of residential buildings, just as there are no laws at state levels that can restrict this activity.
References
Caroll, N. (2017). Architecture, Art, And Moderate Moralism. The Nordic Journal of Aesthetics, 25(52).
Day, C. (2017). Places of the soul: Architecture and environmental design as a healing art. Routledge.
Gans, D., & Corbusier, L. (2006). The Le Corbusier Guide. Princeton Architectural Press.
Grosz, E. (2001). Architecture from the Outside: Essays on the virtual and real space. Cambridge, Mass: MIT Press. Ch. 4: Architecture from the outside, pp. 57-74
Holder, A. (2017). Five Points Toward a Queer Architecture; Or, Notes on” Mario Banana No. 1″. Log, (41), 155-160.