Kissing Architecture – Sylvia Lavin

Kissing Architecture – Sylvia Lavin

저자는 art와 architecture의 관계를 Kiss라고 표현하면서 superarchitecture, affection등의 중요성을 강조한다. Rist 작업에 대한 부분 참고하자. 

A kiss is the coming together of two similar but not identical surfaces, surfaces that soften, flex, and deform when in contact. .. Kissing confounds the division between two bodies. (5)

MOMA is characterized by a consistency of movement and distracted forms of attntio that equate the experience… (19)

Kantinian 의 이분법 부정하고 affection의 중요성 in architecture 강조한다.

Today, affection should be defined as the internalization of perception and not as feelings overdetermined by cultural codes. We no longer need to equate detachment and distance with intellection and abstraction nor feeling with crude sentimentality, .. (21)

Architecture today is increasingly feeling its disciplinary boundaries pressing up to and being superimposed with the boundaries of other fields. (23)

What Rist’s work Pour Your Body to which it belongs to offers to architecture stems not so much from the particular content of Rist’s work but form her use of a medium, which like others that came before it, from installation art to site-specific art, relies on architecture and is often anatomically isomorphic with architecture but which nevertheless operates according to a different set of assumptions about the medium’s modes of production and reception. Her installation, composed of projected moving images, sound, furniture,and other materials, depends on the structural support of MOMA building and yet has nothing genetic or material in common with it. (23)

The architecture and installation surfaces may occupy a single plane, but they emerge from different disciplinary conventions and hence must be said to be only temporarily cohabiting, with all the extra marital frisson that might imply. (26)

Architecture’s most kissable aspect is its surface. .. Finally, surfaces are where architecture gets close to turning into something else and therefore exactly where it becomes vulnerable and full of potential…. the multiple ontologies that potentially become evident. (26) 이 부분들 중요하다 .

When the architectural surfaces are confounded, it produces for the viewer an unnamable experience that is multiple, ever shifting, and therefore intensified in its impact. … it is affective and eidetic because it shapes experience through force rather than representation. (30)

It is not merely in the nature of the contact between the surfaces that the expression is produced but in the understanding of the membranes themselves. (30)

현재 digital age에서 surface becomes a mess라고 이야기한다.

The particular kiss between Rist and MOMA building as a technique for producing new effects. (33)

That contact between large-scale projected images and architecture is of particular interest today is only partially explained by the relative novelty of video art and institutional critique. Rather, what is important and potentially new is the fact that projected images and architecture converge without collapsing into one- that unlike fresco, one sees through a projected image to see the wall and that the relation of image and surface is direct rather than proximate. In other words, this is not a reincarnation of the baroque unity of the arts. Nor does this new relationship between architecture and other mediums operate in the manner of parallel play between the two, as happened when film theorists parse out the different components of the cinematic apparatus into discrete entities, or when sculpture is plopped adjacent to a building. Rather, it is because the union of the architecture surface and the surface of the luminous image is not ideal and immaterial, bur rather provisional and material, that it more fulsomely opens new questions.  (36)

The current attraction between the architecture and image might easily be-and often is- mistaken as simply a new form of spectacle. … the contribution made by the attraction is not merely how it changes the appearance of building but of how it alters architecture’s mode of reception. (37)

그래도 내가 보기엔 Rist도 Aitken의 sleepwalkers도 역시 flat plane flat surface이다. more like conventional screen. 이다. 

Projected images break the planes of a building into parts that never come together again to compose an envelope. … While it is possible to see a building’s cladding through translucent images, they also add matter to a building envelope, thickening it rather than dematerializing it with luminosity. 이 부분 좀 이해가 안 가는데, 다음 부분에서 좀 이해가 감. The viewer cannot choose to see only the material of a building surface or the image as in a gestalt figure/grond, but must see both simultaneously. Face and Facade are superimposed but desynchronized, confounding the viewer’s perceptual capacity to distinguish between the material and representational strata of the facade. (47)

Both Rist and Aitken projects – not alone but in their coupling with the object of their architectural affection and interdependence- address themselves to the viewer in such a way that the viewer doubles and develops the temporary multiple personality order that comes with the nonlinguistic consciousness of a sleepwalker. (49-50)

Rist’s work should be viewed as an enticement, as an invitation for architecture to return to the interior as a sphere of experimentation. (51)

Recalibrating the relation between mediums is to redefine architecture itself. … Understanding Rist and Aitken as superarchitects, as producers of works that not only superimpose themselves onto architecture but that intensify architectural effect, offers a way to understand the seductive contact between architecture and not-architecture as a means of mingling one medium with another to that neither loses its specificity. (53) non-hierarchical relationship이라고 강조한다. 

Kissing is something you cannot do on your own. Kissing always involves the surprise of the difference of another mouth that is like yours but not yours. Kissing is not a collaboration between two but aims to make one unified thing; it is the intimate friction between two mediums that produces twoness– reciprocity without identity- which opens new epistemological and formal models for redefining architecture’s relation to other mediums and hence to itself. (54-55)

The effects of the video- rather than its content-on the perception of the atrium was to interiorize it. ..

Rist’s installation diagrams a doubling of the architectural medium: the manufacturing of a superarchitecture produced specifically by the collision and superimposition of the architectural surface with the projected image, a collision that resulted in neither autonomy nor mastery, but surplus, extra, and a surprising, not quite uncanny but just unexpected, added value. The bonus affectivity derives, in this case, from video’s apparent immateriality, its virtuality, because it both interrupts a direct view of the wall surface and yet provides an easily penetrable transparency through which the architectural surface remains visible. Superarchitecture is not like the Superflat, which deals with depth… (56)

Instead, the projected image lends a surprising combination of substance and transparency to the wall,  uniquely conciliating that someone like… wold have described as the opposing qualities of depth and flatness, as well as the far and near and the optical and tactile types of vision he associated with each. Furthemore, the moving projected image adds dimensions of time normally not available to architecture. 

Superarchitecture, in other words, is architecture in contact with incommensurable forms of time, movement, and immateriality that coalesce to produce socially enveloping and therefore political effects. (57)

Today, the exterior is no longer an outermost, virtually transparent limit of an interior, nor is it a detached and critically distant mouthpiece. Instead, the exterior is a semiautonomous surface, dependent on the technical and material support of architecture but not reducible to it. (87) surface개념이 변화했다. 

The surface is not obligated to express or manage architecture’s insides and is therefore able to refocus its energies and effects centripetally to project, emanate, and exude qualities that alchemically mix with the outside. This outside, in turn, is not neccessarily a more natural or more public place but rather a system for creating effects, the most important of which that of urbanity itself. (88)

The exterior was instead an event-producing front that … The surface makes a huge conceptual leap from the logic of architectural representation and commercial meaning to the force of affect and empathy. surface개념이 변화했다. (92)

two surfaces that are entagled but do not conflate. (112)

Today, architecture is also ready and able to contribute to the reinvention of experience, not personal or sentimental or idealized, but affective and political. (113)

 

 

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