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Web Site: http://www.danielkbrown.com

Tumblr Archive: http://danielkbrown.tumblr.com/archive

Work by my Master's Students: http://cargocollective.com/danielkbrown

Instagram: https://www.instagram.com/danielkbrownarchitecture

Work by my Undergraduate Students: http://architecturevictorious.tumblr.com

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BURNT NORTON (No. 1 of ‘ Four Quartets’) by T.S. Eliot

“At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where. And I cannot say, how long, for that is to place it in time.”

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Vector Architects Gong Dong Connecting Vessel, 2018 Steel Structure Installation 

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Reflective of the truth is that both sides of this apparent reality are involved in a dance. Like partners on the floor, both are required for the dance to happen. In the same way, inside implies outside, black implies white, I imply you, and space implies matter. Always, with the existence of either one, there is the implication of the other.

Whitehead: The Fallacy of Misplaced Concreteness, by Larry Maguire, 2020

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Models by the Masters:

From top to bottom: Urban Office Architecture (x2), Bryan Cantley, Thom Mayne, Richard Meier, Frédéric Borel, Wes Jones, Luke Hinchley, Aidan Hurley.

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Isamu Noguchi, Riverside Playground Model, 1965

Plaster & paint, Noguchi Museum

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Shin Takamatsu, Ela Tower Project, Tel Aviv, 1995

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“By treating the landscape as a manifold in which forms are interconnected what is conventionally considered to be the line and the border condition change. Being aware of landscape forms being topological modulations the line that may be drawn becomes less a divisive mark and more a suggestive mark. The line is drawn … to identify areas where ruptures once occurred and from which old territorial conditions may rupture again to bear new understanding and experience of space… a line from which a field of possibilities may emerge. … Reconsidering what the term 'landscape' means can be used as an initial step into producing a line or lines that are also fields of emerging possibilities.”

— Rosatea Monacella, "On the Emergent Line" in Fluctuating Borders: Speculations about memory and emergence. Melbourne : RMIT University Press, 2007.

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“... a landscape is a system where a point of change is distributed smoothly across a surface so that its influence cannot be localized at any discrete point... The slow undulations that are built into any landscape surface as hills and valleys do not mobilize space through action but instead through Implied virtual motion ... The landscape can initiate movements across itself without literally moving. The inflections of a landscape present a context of gradient slopes which are enfolded.”

—Greg Lynn, Animate Form. New York : Princeton Architectural Press. 1997. p29.

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Preliminary Research Office

Notes on Techniques, photo 37. 2019. Los Angeles, CA, USA.

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“In the absence of actual collapse, [architects] project. … The rectilinear system of ordering the spaces of the building is projected downward… The fall of the grid would be straight if it were unimpeded, but there are perturbances in the active forces, irregularities in the grid that are amplified by the external forces… as well as accidental collisions between descending vectors. The resulting spatial distortion is evident in the cumulative configuration of trajectory lines. … This new spatial organisation is a territory wide open for speculation.”

Paul Virilio, Forward to the 2011 catalogue for the Paris exhibition Ce qui arrive, 2011. p154.

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"Between the idea And the reality Between the motion And the act Falls the Shadow..." —TS Eliot, "The Hollow Men"

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In his essay “Negation and Reconciliation” Raimund Abraham writes, "I see the process of architectural creation as one that oscillates between negation and reconciliation: it is a continuous confrontation between ideal and matter, idea and image, intellectual and psychological, technological and spiritual.” This idea that architecture operates in the “between" is an idea that can be traced back to Martin Heidegger in his essay on Johan Peter Hebel: "[man stays] between earth and sky, between birth and death, between joy and pain, between work and word.”

"New icons in architecture will either come from the recognition of our intrinsic ontological limits or they will not arise at all.”

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He thought of how this building was like a book written in an unknown language he had not yet learned, how these corridors were like the sentences of a strange language, and the rooms foreign words he had never heard before.

Pavić, Milorad. Dictionary of the Khazars: A Lexicon Novel. Translated by Christina Pribićević-Zorić, Hamish Hamilton, 1988, p. 107.

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To be in place is to be in time, haunted at once by the past and by the future, by the present and its effects. It is to find oneself in a world under construction by builders we cannot see.

—Nicholas Korody writing about Andreas Angelidakis

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"... my aim is not to forge history, but rather to give form to a neutral space, in which to float, above, and beyond time, a mass of weightless metaphors." —Manfredo Tafuri, The Sphere and the Labyrinth, 1987, 15.