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TXT 01
The relationship between subject and the environment isn’t so much challenged as it is iterated, again, as it reinforces the melodrama seriality between subject (human) and object (any material essence perceived as exterior to the lopsided weight of exceeding interiority that defines and circumscribes, rather dimly, the seedling self as a singular, unified, subject). By varying accounts, a human is an object. Or an object in a vast field of objects, or is part of an object, or is a stream of unquantifiable data manifesting irregularly upon or against a grid of moments along a theory/line of events. Here is man — perhaps an axis. Whether abstracted toward or without form, a being is identified, mythologized, objectified — first. Before the deeper issue of the integration or reintegration with environs is formally problematized and given value(s) toward reconciliation or disintegration, some actors/agents are suggested: subject and object. Here is Kuma, objecting. But gentle promenade through typological corridor toward glass veranda. Passageway, transparently textured in light emanating from floor, calmly collects cool aqua breeze sampled from environs. This is a vehicle transporting you from one tome of object-hood to another. Veranda, dematerialized through delicate glass and pool of water, awaits. Veranda regenerating, abstracted through this outward engagement, call and response. Veranda as verticality. Mock passage onto sublime infinity of pool as ground — artificially set and separated from ocean — narrowly interrogates edge through liminal dip of liquid datum dissolving gently at the seams, recirculating. A slight dithering at this new horizon line between an “out there” and an “in here.”
TXT 02
But the ambling that is given direction through axial glass corridor on the way to island-like veranda (and theoretically one with the open ocean) is abruptly ruptured by brutal but dear column of concrete sporting its structural entelechy, defiant. Gesture to end business of seascape incorporation by subtle but clear obstruction of otherwise continuous expanse of ocean beyond. It is the looming visual/structural counterpoint standing stubborn in the corner of the plane, re-materializing this alien volume and recapitulating the material weight of the container as object divorced from nature, synthetic, separate. Aberrant scar on the canvas, optically distorting otherwise seamless tableau. Structural element, whose counterpoint potentially terminates an otherwise willful suspension of disbelief. Mies and others have accounted for the treatment of corners sandwiched between planes in transparent containers, by removing the structural element and/or shifting it so that the engagement with the borrowed ‘beyond’ continues, fluid like time or its assumption. Attempted, anyway. Environs are old temporal stock anchoring their reception in our being like ancestors. Distant, vague, felt. Kuma’s architecture, or lack thereof, is gestural in this regard, formalized by an aesthetic toward reunion and mimicry in order to render live a new being out of the supernatural encounter/context between visitor and environment. All, mediated by an architecture of self-effacing transparency. Sea is larger, older, so one defers. For instance. He proposes more humble paths to intimacy — though separated from it by devices, gestures, architecture — derived from nature, responding to it, communal, as one. And the column. More solemn than all (by now), preparing a more difficult gaze at the other out there, soiling the edges (now re-centered) of your terministic screen. And the distant, borrowed.
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