Idiorrhythmic (Re)Interpretation of the Phalanstery

Currently, the physical and virtual world establish a unique, wild and restrictive rhythm that results in exclusion and social anxiety. As criticism and counterproposal, a theoretical framework has been formed in which Idiorrhythm, nature and pleasure rise to shape a fantasy in which the balance between living alone and living together is essential.

Idiorrhythm is a purely positive and communal fantasy that requires a scenario that encourages its desires. It is formed around a theoretical discoursed shaped by 7 traces defined by Roland Barthes. The treatment of the plot responds to the introspective character of Idiorrhythm, for which the limits are essential as they offer Clôture and Distance, which provide protection. Between the limit and the rooms, a permeable layer gains privacy as we approach the complex. This layer is Eden, the ideal circumscription of an Idiorrhythmic community, which completes a unique ecosystem. A Cartesian order or a random rhythm is not intended, so the garden is subject to an organizing grid in which the directing lines are not binding, that is, traces exist, but nature is free. Crossing this natural filter, we arrive at the main building, which is understood as a model of a patio house where all community life pours out in its inhabited center. The complex follows a system of proportions that starts from the Chamber, which is separated from the whole. It is understood as a unique and personal space that consists of two mutually integrated situations: the cell and the garden. The first is interpreted as a series of islands that are inserted into the second so that it is really a house within a garden and not the other way around. The Thelos keeps the relationship system of community life strong. For Barthes, as for Fourier, the more Eros -pleasure-, the greater the Idiorrhythm. In the cloister, where community life inhabits the sixteenth variation of Max Bill has been designed, which gives rise to a labyrinth that offers as many experiences as there are ways to go through it, specifically 811. The main itinerary is maintained and encouraged, but its continuity is interrupted by the simple volumes associated with the senses through which we perceive pleasure, and a reduced scale Eden emphasizes an experience that not only varies with the route but is also temporarily modified because of the changing nature of the vegetation depending on the season. This is the Thelos of the fantasy, which is the ecstasy of pleasure.