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Product Description
Author Keith Mitnick's first glimpse of an architectural drawing came through the underside of a glass kitchen table.Overcome by the sight of blueprints created for an addition to the family's tract house, the young boy spontaneously vomited on his father's shoes. Now an architectural professional and educator, Mitnick finds himself thinking and writing theoretically about moments like these, when architecture makes itself felt, immediately and palpably. Balanced precariously betweenpractice and theory, Mitnick refuses to put contemplation over experiencearchitectural thinking over making. Unconvinced by those who proclaim the death of theory, Mitnick maintains that architectural discourse need not disappear entirely; it need only change shape and break free from the tired, post-structuralist narratives with which it has become associated in the past couple of decades.
Artificial Light suggests an alternative type of critical theory consisting of personal and fictitious anecdotes, real and fake photographs, and mini-essays that addresses prevalent themes in architecture such as immediacy, affect, abstraction, atmosphere, realness, and banality. With a narrative style reminiscent of other unconventional writers on design such as Paul Shepheard, Roger Connah, and Rebecca Solnit, Artificial Light is the beautifully written and visually engaging debut of a dynamic new voice in the world of architectural criticism.
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3 of 4 people found the following review helpful
Rich in content and beautifully composed, Artificial Light is a compelling and original critique of architectural discourse.
7 Oct 2008
Format:Paperback
An immersive and enjoyable exploration of the latent assumptions in contemporary architectural discourse, Artificial Light convincingly questions notions of experience as related to the `constructed realities' commonly touted by many architectural theorists. As one of the opening pages of the book states, "there are as many things as there are views of things," situating the dissection that is to follow. Playing against hauntingly beautiful photography woven throughout the text, Mitnick constructs layers of meaning through fluid and coherent writing that engages the reader with a gamut of performative styles, gaming with the medium to affect the message. Rather than concluding on some point of crisis, Artificial Light cuts a hole through the canvas and sidesteps the need for polemic; the nature of things has been opened to the multitude, and it is for the reader to determine.
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