Going through some old notes, I found this great line from architect Kengo Kuma’s 2008 book Anti-Object, describing the conceptual ambition—and ultimate anticlimax—of modernist architecture. “Modernism set out to connect time and space,” he wrote, “but ultimately managed only to create objects that used an abundance of glass.”
As a continuation of the previous post, imagine a house whose plans are based upon a photomicrograph of glass. The house’s actual lay-out and external appearance are exact translations of the mineral structure and microtectonics of glass. The house itself, though, is also a glass house; that is, even as its layout and structure are based upon the mineral tectonics of glass itself, the house uses glass as its primary material.
Now imagine a Charles & Ray Eames-like film where we zoom-in at powers of 10 till we end up on the photomicrographic level, looking at the glass that the house is constructed from: the only problem is that it looks exactly like a full-scale photograph of the house. Have we zoomed all the way in, or did we zoom all the way back out?
MC Escher meets Mies van der Rohe, perhaps. Or Ouroborus as an architectural condition. And what happens if we keep zooming in?