The thin lip of a teacup To give the building a sense of the delicacy associated with such crafts, as well as a feeling of warmth, I designed louvres from white porcelain panels, and used them to cover the outer walls. The louvres are tapered, to make their tips as fine as possible. (In fact, making tips as thin as possible is one of my key design principles: the thin lip of a teacup allows a better experience of the subtleties of tea - this is always at the forefront of my mind when I pay such close attention to edges.) Kengo Kuma, My Life as an Architect in Tokyo edges
An edge is an interface An edge is an interface between two mediums. Edges are places of varied ecology. There is hardly a sustainable traditional human settlement that is not sited on those critical junctions of two natural economies. Successful and permanent settlements have always been able to draw from the resources of at least two environments. Bill Mollison, Introduction to Permaculture As a kind of gateway edgesmedia
As a kind of gateway Historically, Japan's shrines have been built in order to worship the gods who live in the sacred mountains or seas; They don't reside in the shrine itself, but in the space beyond it. This belief that the spirits and deities exist beyond the confines of the shrine, and that the shrine itself acts not as a centre, but as a kind of gateway, is very different to the grand, imposing churches and cathedrals of Christianity. The majority of shrines are not found in the mountains or in the middle of the fields, therefore, but at the borders of mountain villages – which is to say, at what is seen as the edge of the mountains. The tori gate, marking the entrance to a shrine, indicates that there are gods on the other side of it. Kengo Kuma, My Life as an Architect in Tokyo An edge is an interfacePaths, edges, districts, nodes, landmarks religionedges
Phenomenal: An Introduction An Essay from Phenomenal: California Light, Space, Surface by Robin Clark Aesthetic palate cleansingUntitled (Light Canvas)Little Blank Riding HoodNot intended to be read until you have seenA vaporous middle-world+5 More
Aesthetic palate cleansing During the 1960s and 1970s, light became the primary medium for a loosely affiliated group of artists working in Greater Los Angeles who were more intrigued by questions of perception than by the notion of crafting discrete objects. ...Often with modest means (a bolt of scrim, a sheet of glass, a bucket of resin, an open window) these artists engaged in a kind of aesthetic palate cleansing, shaking off the art-historical weight and heavy impasto of midcentury painting as it had been influentially practiced in New York and San Francisco. aestheticsmaterial
Not intended to be read until you have seen This is not a catalogue because there is no list of works. The exhibition will comprise three spaces in which three artists will have made their art. At the moment of writing we are not sure exactly what they will do—and we cannot know how what they do will appear to us. Therefore we cannot attempt to help you perceive it. So this is also not truly an introduction to the art. It is not intended to be read until you have seen the exhibition. Michael Compton perceptionseeing
A vaporous middle-world In between these two extremes is a room with three constructions by Robert Irwin. These can be read as individual works of art but their function here is primarily that of creating a climate of fastidious ambiguity. Light turns into a new kind of material; new kinds of material are fused into light; a vaporous middle-world stands midway between total black (Bell) and total white (Wheeler) light