By Keith Mitnick
Writer Keith Mitnick's first glimpse of an architectural drawing got here in the course of the underside of a pitcher kitchen table.Overcome by way of the sight of blueprints created for an addition to the family's tract condominium, 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, while structure makes itself felt, instantly and palpably. Balanced precariously betweenpractice and concept, Mitnick refuses to place contemplation over experiencearchitectural considering over making. Unconvinced via those that proclaim the loss of life of thought, Mitnick continues that architectural discourse don't need to disappear completely; it desire simply switch form and become independent from from the drained, post-structuralist narratives with which it has turn into linked long ago couple of decades.
Artificial Light indicates an alternate kind of serious idea such as own and fictitious anecdotes, genuine and pretend images, and mini-essays that addresses customary subject matters in structure equivalent to immediacy, have an effect on, abstraction, surroundings, realness, and banality. With a story sort resembling different unconventional writers on layout resembling 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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Extra resources for Artificial Light: A Narrative Inquiry into the Nature of Abstraction, Immediacy, and Other Architectural Fictions
Accustomed as I was to a clear distinction among these things—walls and floors, hallways and rooms—I felt uneasy about the blurry boundaries. I worried that I couldn’t be certain of things and my relationship to them if the building didn’t describe them to me in definitive terms. 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.
When my parents eventually broke up, and the family shifted from a group of five to four, we all felt like different people. We stopped doing things together and retreated into our individual worlds. In retrospect it was my father alone who achieved a new life, with another wife and new children—an identity without us. He moved far away to a different climate and became a different person while we stayed behind—the same family minus a father. 45 / Percept 03 Affect When the summerhouse . . was finally finished, we would go there on weekends and sometimes for the entire summer.
Eventually they would give in and commit to an evening. I would go crazy with anticipation, working myself up into an unbearable frenzy of excitement. On the drive there, my father would try to dampen the fun by putting the boardwalk down. He thought it was sleazy, but I didn’t care what he thought. As soon as we arrived, he would announce the amount of time that we could stay, the number of rides I could go on, and the amount of junk food I could eat: one slice of pizza, one ice cream, one big lemon freeze, etc.