By Keith Mitnick
Writer Keith Mitnick's first glimpse of an architectural drawing got here throughout the underside of a tumbler kitchen table.Overcome via the sight of blueprints created for an addition to the family's tract apartment, the younger boy spontaneously vomited on his father's sneakers. Now an architectural specialist and educator, Mitnick reveals himself pondering and writing theoretically approximately moments like those, while structure makes itself felt, instantly and palpably. Balanced precariously betweenpractice and thought, Mitnick refuses to place contemplation over experiencearchitectural pondering over making. Unconvinced via those that proclaim the dying of conception, Mitnick continues that architectural discourse don't need to disappear totally; it want simply swap form and break away from the drained, post-structuralist narratives with which it has turn into linked some time past couple of decades.
Artificial Light indicates another kind of severe concept inclusive of own and fictitious anecdotes, genuine and pretend pictures, and mini-essays that addresses primary topics in structure reminiscent of immediacy, have an effect on, abstraction, surroundings, realness, and banality. With a story type akin to different unconventional writers on layout comparable to Paul Shepheard, Roger Connah, and Rebecca Solnit, Artificial Light is the superbly written and visually enticing debut of a dynamic new voice on the planet of architectural feedback.
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Additional info for Artificial Light: A Narrative Inquiry into the Nature of Abstraction, Immediacy, and Other Architectural Fictions
He did odd things like call the teachers “ma’am” or “sir” and turned the hallway corners in crisp and sudden ninety-degree rotations. These affectations would soon fade away, but, as Nick eventually told me, the fear of being suddenly accosted and brutalized by upper classmen did not. He told me that he never really slept soundly or was able to relax—expecting as he always did to be unexpectedly yelled at, trampled, or publicly humiliated (like the time he passed out marching back and forth in formations on a hot summer day wearing a thick wool military uniform, and they made him stand outside in the rain for an entire night as punishment; or when he got caught buying pot with the money his father had sent him to purchase a new saber, and they announced his expulsion on the schoolwide intercom).
In a sense our summerhouse was all smoke and mirrors, even though it represented my parents’ dreams of happiness. Buildings lie by staging deceptions about everything from their materiality, their age and manner of construction, to the ideological messages that they embody. They are like television sitcoms about absurdly idealized families: everybody knows it is just an act, a pretense, but somehow we are still seduced by the images of perfection it presents. Percept / part 2 / It is the relationship among things—rather than the things themselves—that gives objects their identities.
Was finally finished, we would go there on weekends and sometimes for the entire summer. For me, the highlight of the season was our visit to the boardwalk in Sea Bright, a few towns to the south. The Sea Bright boardwalk stretched for several miles along the water’s edge and was composed of amusement piers, restaurants, stores, and gaming parlors. There was a lot to do and see, but the biggest attraction was simply the hordes of people walking the elevated wooden boardwalk that ran alongside the vast expanse of beach.
Artificial Light: A Narrative Inquiry into the Nature of Abstraction, Immediacy, and Other Architectural Fictions by Keith Mitnick