| Title |
The Otherness and [Non]Potentiality Inherent in the Architectural Acts of Passive Aesthetics |
| DOI |
http://doi.org/10.14774/JKIID.2024.33.1.083 |
| Keywords |
Restism; Jeong Isaac; Passive Asthetics; The Otherness; [Non]Potentiality |
| Abstract |
Jeong Isaac’s “Restism” distances himself from suggesting a new and interesting alternative as a solution. It is characterized by difficulty in discussing the style and composition method of the formality with uncharacteristic expressions, and this study focused on these passive aesthetic characteristics. The purpose of this study is to identify the constructive reality of ‘passive aesthetics’ and present its characteristics because it can present new architectural views and practical asymptote line on a different level from the ‘active aesthetic work’ of ordinary architectural design. First, we compare Hannah Arendt’s political pluralism and Levinas’s other ‘degagement’ with Jeong Isaac’s architectural activity, and then confirm Agamben’s concept of [non]potential within the “verbal materiality” of architecture, “time” revealed through actions and messages, and the resulting “theatricality.” The characteristics and values of passive aesthetics are examined by organizing the whatever singularity revealed in the detailed work, the construction of mining, the gesture of hesitation, the eventization of memory behavior, and the stage of gestures. Through this, “whatever singularity” is in contact with Vernacular and everyday architecture, and the materiality of pure language and the rhythm of gestures and images that mediate it can be expressed as a voluntary memory act of faithful repetition and reproduction by mining and recording. The dislocated narrative structure developed as a gesture of [non]potential practice is experienced as a theatricality that penetrates into the spirit and faces a moment of phenomenological reduction (one-off event). |