Wall Sandwich: The Architectural Gesture and Art Practice from Destruction to Non-Construction
According to my own practices, which are the starting point and main mode of inquiry, the project presupposes the now expanded field of architecture for explorations in art practices and thereby inherently reactivates the artistic qualities of architecture and the inseparability of art and architecture. In the first place, however, the expansion of the field of architecture concerns the social realm, or more generally, the dynamic aspects of lived space. The project therefore opens a hypothetical field or shift from 'destruction' to a yet to be defined 'non-construction'. This opening to the yet unknown, which can be understood methodically, historically, philosophically, etc., continues triggering new explorative practices rather than a classic analytical examination. At the same time, however, the intuitive invention of the notion of 'non-construction' holds the germ of original knowledge already: a determination of 'destruction' as an inherently spatial activity linked to contingent will and passion, as opposed to negativity. Concepts such as Giorgio Agamben's 'whatever' or Isabelle Stenger's 'cosmopolitics', and the artistic figures of 'ornament' or 'gesture' stand in as discursive and practical friends for making the point of the project sensible in terms of non-construction. Ultimately, the only legitimate way of delivering a dissertation that is not a contradiction in terms must be by 'non-construction'.