By Jean-Jacques Lecercle
Structure and Philosophy: New views at the paintings of Arakawa and Madeline Gins is a suite of essays at the paintings of architect Arakawa and poet Madeline Gins and specifically their booklet Architectural physique (2000). The essays technique their innovative and impressive venture to layout 'an structure opposed to demise' from numerous angles and disciplines together with aesthetics, structure, linguistics, philosophy. The papers retrace where of Architectural physique within the aesthetic panorama of paintings on the flip of the twenty first century and investigate 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)
Notes” 65) Note Kiesler’s emphasis on the psychological. The Endless is not a bachelor pad of creature comforts and technological whimsy; nor is it simply “a home for a family, but must definitely make room and comfort for the ‘visitors’ from one’s own inner world…. Living in the Endless House means to live an exuberant life” (“Notes” 67); and the designer of the Endless House must never forget “the human being whose desire is a correlation of known and unknown” (“Kiesler by Kiesler” 68); never forget that, “Puzzle creatures to ourselves, we are visitations of inexplicability” (Arakawa and Gins xii), an ability not yet subject to explication, but still implicit, folded into the endless.
In seeking the maximal thought, Mallarmé was forced back onto (or through) the materiality of thinking and language, just as in aiming to think concretely Arakawa and Gins continue to rely heavily (or rather, with loft) on writing of a very determined abstractness and poetic projection. The problem of the relation between texts and built structures in the work of Arakawa and Gins is certainly the dramatically amplified grandchild of a problematizing of sense first ventured in the visual poetry and book theory of Mallarmé.
The shrine embodies Kiesler’s conviction that architecture can only be said to begin when normative functions are obliterated by a solution larger than the ostensible need. Addressing the role of apertures like windows and doors, he writes: Architecture starts when these utilitarian developments finally outgrow their normal human physical needs and an oversized entrance develops— porticoes or doors—so high and solid as to be of Cyclopean origin, denoting an entrance to the sacred, beyond human scale.