| Title |
Architectural Manifestation of Hiroshi Sugimoto’s Photographic Infinity |
| DOI |
http://dx.doi.org/10.14774/JKIID.2015.24.5.031 |
| Keywords |
Hiroshi Sugimoto ; Photography ; Architecture ; Infinity |
| Abstract |
The objective of this research is to investigate the artistic meaning of “infinity,” manifested by the fourth dimensional value in the genres of photography and architecture, by analyzing how Sugimoto Hiroshi’s photographic spatiotemporal infinity transfers to his architectural approaches. The research is initiated by scrutinizing the themes, characteristics, techniques, and artistic meaning of Sugimoto’s famous photographic series, including “Seascapes,” “Theatres,” and “Architecture”; the concept of infinity can be defined as infinite divergence and infinitesimal convergence between antithetical concepts in time, space, and being. Sugimoto’s photographic works display “temporal infinity” by connecting ancient times, the present, and the future; “spatial infinity” by offering the potential for transformation from flat photographs into infinite threedimensional space and fourthdimensional concepts through time; and “existential infinity” of life and death by making us think about being and essence, being and time, and origin and religion. These perspectives are also used to analyze Sugimoto’s architectural works, such as “Appropriate Proportion” and “Glass Tea House Mondrian.” As a result, the research finds that in Sugimoto’s architectural approaches, spatiotemporal infinity between antithetical values is manifested through the concept of origin, geometric form, extended axis, immaterial threshold, transparent materiality, and connectivity of light and shadow, provoking our existence to transcend into infinity itself. |