Deleuze’s work Pleats of Matter investigates the ontology of folds, pleats, bends and their application for enveloping, distortion and collapsing. This work depicts the overflow of trajectories and clash of the process, where their layers are vaguely presented or revealed in the deformed state (Deleuze 17). Here the shape and form are secondary products of lines bending into one another, where folds are developed and created to a different extent where one form can be quickly transformed into another form. As the fold is capable of infinite divisions, there should be the power that can produce the limits for infinity. This power can be presented as the compressive force of the university contributing to the return of all pleats of the matter to the surrounded area. The likening to such natural phenomena as the maelstrom or the see foam, folds are subjected to the vertical principle where one fold triggers another.
The principle of constant fluidity is also achieved through the possibility of folds to create other folded parts endlessly. Deleuze also notes that two displays of the fold are explained and determined by the surrounding actors and their pressure that identify their hardness (19). Therefore, the author renders Leibniz’s idea that each material has its absolute hardness which is revealed through the number of folds, which, in their turn, are not separated into the parts but divided into smaller parts. In this way, the pleats of the matter can be connected with alive organisms where the development of a living being is an infinite division of folds or pleating. Despite the process of pleating and separating, each level of the organic system forms a cohesion (Deleuze 18). Hence, the first layer of folds, which is defined by Deleuze by the folds in the soul, is always self-motivated whereas the upper level is formed under the influence of the external forces of compression. Therefore, the internal forces are always directional where the external folds are retained by friction.
Analyzing Kipnis’s work through the prism of the nature of beings, there is an idea that the New Architecture is based on the withdrawal of the old ones. However, there is an opinion that the new architectural techniques are based on the combination of all forms which have been proclaimed as the new methods of building strategies. To prove either of these, Kipnis explains the nature of forms and tries to differentiate between the novelty of the form and the constellation of collage (100). At this point, the leading role belongs to the force of heterogeneity, which cannot be applied to the form of collage. Heterogeneity imparts the collage with the possibility of exhaustion, which is the sign of usage of the old forms.
Another force directed at protesting the old forms is an inscription of spatial models, as a means of rapture and discontinuity. The space characteristics also contradict the existence of forms and the possibility of reaching the equilibrium between the infinite space and fixed limits of finite space. The pointing and projecting serve for the production of new forms and spaces. The projecting involves the principle of distortion contributing to the formation of spatial residues, as the main outcome of heterogeneity of forms.
On whole, both architects consider the Baroque’s nature of forms through different explanations of forces affecting them. In particular, Deleuze puts an emphasis on the analysis of folds and their internal and external representation whereas Kipnis is more focused on the presentation of spatial residues as the result of form distortion acquiring the function of deformation and information.
Works Cited
Deleuze, Gillez. ‘Pleats of Matter’. The Fold – Leibniz and the Baroque. US: Continuum International Publishing Group, 2006.
Kipnis, Jeffrey. Towards A New Architecture. 2010. Web.