By Jean-Jacques Lecercle
Structure and Philosophy: New views at the paintings of Arakawa and Madeline Gins is a set of essays at the paintings of architect Arakawa and poet Madeline Gins and specifically their ebook Architectural physique (2000). The essays process their innovative and impressive venture to layout 'an structure opposed to dying' from a variety of angles and disciplines together with aesthetics, structure, linguistics, philosophy. The papers retrace where of Architectural physique within the aesthetic panorama of artwork on the flip of the twenty first century and verify the utopian stance in their paintings.
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Additional resources for Architecture and Philosophy: New Perspectives on the Work of Arakawa & Madeline Gins. (Architecture - Technology - Culture)
If we are going to make use of the term in discussing Arakawa and Gins, it is important to insist on a couple of qualifications. First, we should disconnect the idea of an architectural poetics from any expectation that there could or must also be an associated poetry. Poetry can be thought as architectural (and architecture as poetic) in many ways, describing just as many zones of hybridity in which the term “architectural poetics” may be of different uses. But, though I do not discount the possibility of a rigorously defined, intermedial poetry of architecture, this is not what we are dealing with here.
The observer, being human, is then pressed right up against “how a world comes to be organized in the vicinity of the human organism” in the architectural body. In Kiesler’s memorable formulation, “The artist creates by imposing limits on endlessness” (“Inside the Endless House” 395)—but, crucially, you have to know you’re dealing with endlessness in the first place so as to grasp what it means to impose limits—because, “Strangely enough,” he says, “what appears, in art and in life, to be a standstill of plastic forms is actually only a slowdown in the creative evolution of space-time” (29).
A lucrative architectural project that kept Kiesler in New York after he was scheduled to return to Europe in 1926 turned out to be a political scam. Kiesler was never paid and could not even afford to go home. So the man who in short order had been a pioneer in innovative stage production, exhibition design and visionary architecture—to the extent that he was inducted into the De Stijl group as its youngest member—was to spend the rest of his life in New York, regularly producing audacious plans for buildings that Endless House—Architectural Body 39 were never built, furniture that was rarely manufactured, and theatrical projects that were not often realized.
Architecture and Philosophy: New Perspectives on the Work of Arakawa & Madeline Gins. (Architecture - Technology - Culture) by Jean-Jacques Lecercle