By Keith Mitnick
Writer Keith Mitnick's first glimpse of an architectural drawing got here during the underside of a tumbler kitchen table.Overcome by way of the sight of blueprints created for an addition to the family's tract residence, the younger boy spontaneously vomited on his father's sneakers. Now an architectural specialist and educator, Mitnick unearths himself considering and writing theoretically approximately moments like those, whilst structure makes itself felt, instantly and palpably. Balanced precariously betweenpractice and conception, Mitnick refuses to place contemplation over experiencearchitectural considering over making. Unconvinced through those that proclaim the demise of thought, Mitnick continues that architectural discourse needn't disappear solely; it want simply swap form and separate from from the drained, post-structuralist narratives with which it has develop into linked some time past couple of decades.
Artificial Light indicates an alternate kind of severe concept along with own and fictitious anecdotes, actual and pretend photos, and mini-essays that addresses customary subject matters in structure comparable to immediacy, impact, abstraction, surroundings, realness, and banality. With a story kind corresponding to different unconventional writers on layout equivalent to Paul Shepheard, Roger Connah, and Rebecca Solnit, Artificial Light is the fantastically written and visually enticing debut of a dynamic new voice on this planet of architectural feedback.
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Additional resources for Artificial Light: A Narrative Inquiry into the Nature of Abstraction, Immediacy, and Other Architectural Fictions
Would it mean more reflections and subtler lighting or handcrafted details and irregular materials? Such characteristics may be desirable, 62 / Artificial Light but they are no more or less immediate than anything else. Immediacy, like any other abstract notions, represents a set of ideological and visual sensibilities cast upon material form. Immediate / part 2 / When I was much younger I had a friend named Nick. He was good at everything, and everybody liked him. Nevertheless, he had a strong tendency to disregard the merit of whatever came easily to him—even if it was valued highly by others.
In some ways I think that I related to architecture through my anxiety about being deceived. I needed facts to feel secure, 32 / Artificial Light ... and I knew I couldn’t always trust the appearance of things. I remember having to go to the bathroom one day in kindergarten, knowing that I needed the boys’ room and not the girls’ room, but wondering how this had been decided. It seemed to me that the building had enacted this distinction upon me rather than accommodating something I already was.
If we stayed too long, we knew we would quickly use up all of our visual memory from the outside world and be left with only the self-referential array of painted gray concrete and exposed duct systems that surrounded us. At first I thought the building appeared this way in order to torture its inhabitants. But once we entered the death chamber, I understood things differently. It was completely empty, except for a chair and a white curtain. It resembled a lunar module suspended in deep space, with neither context nor referent.