Western Architecture History~3.Invisible past memories

I'm going to start this entry by quoting the words by Arata Isozaki.

"After the forming and spreading of a wisdom known as 'modernism', which had started from the age of 'picturesque' to construct a scenery as a fictional nature--we are set to live in the period of time when we have no other choice than describing that 'fiction' again as a 'fiction'. A sign is detached from its reality, and it is realigned and rearranged its phase and dimention to be manipuratable. A new sign thrown into the waves of sinage simply fluctuates and amplifies the ripples, and it just continues to pulsate like an images overlaid on top of multiple screens. In that sense, the real image of the crisis of , which started since the mid 18th century, resides within the substance of the crisis, and those facts to explain the crisis just float around and flicker like the screen images.
An "illustration of ruins" as a cliche has also shifted its meaning in various context and has been utilized to function as a political rhetric. It is important to note that such utilization is still effective today, and it is the evidence that this period of time to describe a fiction as a fiction, has been continued from the 'modernism' rooted in the mid 18th century crisis. "

We, who seem to live in the freedom of interpreting and refering the past, by giving externality and objectivity to the past as the accumulation of and their , to make them as a referantial . It is true that the redifining and systematizing those enables to visualize and recognize those events and their references. However, there is a danger to limit their meaning within the process of filtering, interpreting and redescribing those events to symbolize them. Also, the symbolized events could receive deformed meanings and stories from their reality.
What promote the definement and systematization? Isn't there a danger to be influenced or even forced to distort a recognition? And do those small and invisible matters spilled over from the systematization loose their influence and effect to the future? Do we have the reason, the right and the ability for us to filter them out?

We tend to recognize 9/11 terrorist attacks, Holocaust, Hiroshima, or any other past events through the viewpoints of various medias as "an understandable story and a fuctual history." By looking at them from a safe ground in distance, we might be freezing the past as a record, and separating and isolating it from us.
It requires a great responsibility and care to deal with the past.

I introduced "Jewish Museum Berlin" in previous entries because the selection of the plan by Daniel Libeskind for the redevelopment of Ground Zero might have been effected by his Jewish race and his ability to conduct the consruction of Jewish Meusium reflecting his ethinic and cultural background. It might be true that New York authorities wants to overlap his personal background and the process of building Jewish Museum to the reconstruction of World Trace Center.
However, it is also important to note that even though it enables us to understand and forsee the development of this Ground Zero project through the background of Libeskind, there is also a danger to limit the possibilities and blur the essential reason for this porject.

It is not just in the case of Libeskind and his projects--other Post-modenists who have to refer to the past and its history--such concept and the architecture itself, presented by Libeskind or others asks the question of whether it is "right" or not, whether it is really meaningful method and direction for handing in those "memories" of Jewish history or Holocaust, and what kind of reason and meaning ithere is to "interpret" and "describe" such memories in a form of architecture.
Of course, there is also a question of what to articulate as a volume of architecture, which is often criticized how Libeskind chooses the theme and operates them, similar to the criticism against the Post-modern semantics. However, Libeskind internalizes even those possibilities of misunderstanding and its rejection as the parts of the past and our way of relating ourselves to the past---not just something factualized and categolized subject matters, but also those various invisible elements of memory, thought, emotion, poetry, nostalgy, etc---as the theme to recompose and reconstruct them with a new method and a language. This process of recollection allows to de-construct the architecture described by the historical form and theorized typology, and it might produces a new kind of architecture that integrates wisdom and memories witha new physicality and spirituality.
We often use the word "abstructness," but by reconsidering its meaning and its actual influence, Libkeskind asks us to recognize the , which are not just the objectified records of the past.

In that sense, "Deconstructivism" was the activity to internalize even the criticism to reinterpret and reconstruct the past, even if it was destined to be unstable and deconstructed by its activity itself. Deconstructivism was a methodology and a process to internalize all invisible, void, unconsciousness, record, memory, etc---to make us recognize and reconsider as a new descriptive language.
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