Architecture as Metaphor: Language, Number, Money (Writing Architecture)

Rating:
Summary: Sugawara
Review: Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara Sugawara

Rating:
Summary: I say "Sugawara" too, an exceptional mind at work again!
Review: Sugawara, sugawara, sugawara, this is an exceptional mind at work again, and can can feel the impact of deconstruction upon Japan and Japan upon deconstruction. Let more of his works be translated>... he said, Sugawara, sugawara (as below, so above).

Rating:
Summary: I say "Sugawara" too, an exceptional mind at work again!
Review: Sugawara, sugawara, sugawara, this is an exceptional mind at work again, and can can feel the impact of deconstruction upon Japan and Japan upon deconstruction. Let more of his works be translated>... he said, Sugawara, sugawara (as below, so above).

Rating:
Summary: A tremendous accomplishment!
Review: This book is a tremendous accomplishment. An intellectual pleasure. In the first half of the book, Karatani deals with what he calls "the will to architecture". According to him, the whole Western philosophy has been constructed on the basis of "the will to architecture" since Plato. (Can we see here the influence on Karatani from Nietzsche?) What is interesting in his attempt to deconstruct this "will to architecture", or a "building" constructed by it, is that he tries to get "outside" of it by taking "the will to architecture" to the extreme. Karatani calls this procedure "formalization". He refuses to presuppose the "outside" intuitively. "The will to architecture" deconstructs itself by the extreme "formalization". However, though this attempt is an tremendous attempt, he finally abandons it. For he realized that he had to presuppose the viewpoint which can look at the totality of the system from above though he did so in order to deconstruct that very totality of the system. What he did after this "turn-around" is to turn to the "outside". It might sound naive, but this "outside" is not intuitive at all. The "outside" I am talking about here is the "other". This "other" is someone with whom you don't know whether you can communicate. The "other" is like a foreigner or a child. If you say something to him or her, you can never be certain whether what you are trying to say is communicated. This concept of the "other" has a lot of theoretical implications though I cannot talk about them here because of the limitation of the space. For example, you no longer need to worry about the prison-house of language. You don't have to suffer from the closedness of language. It is impossible to introduce everything Karatani says in this book. All I can say is "Just read the book." If you do, you will see a rare intellectual accomplishment in philosophy/theory.

Rating:
Summary: A tremendous accomplishment!
Review: This book is a tremendous accomplishment. An intellectual pleasure. In the first half of the book, Karatani deals with what he calls "the will to architecture". According to him, the whole Western philosophy has been constructed on the basis of "the will to architecture" since Plato. (Can we see here the influence on Karatani from Nietzsche?) What is interesting in his attempt to deconstruct this "will to architecture", or a "building" constructed by it, is that he tries to get "outside" of it by taking "the will to architecture" to the extreme. Karatani calls this procedure "formalization". He refuses to presuppose the "outside" intuitively. "The will to architecture" deconstructs itself by the extreme "formalization". However, though this attempt is an tremendous attempt, he finally abandons it. For he realized that he had to presuppose the viewpoint which can look at the totality of the system from above though he did so in order to deconstruct that very totality of the system. What he did after this "turn-around" is to turn to the "outside". It might sound naive, but this "outside" is not intuitive at all. The "outside" I am talking about here is the "other". This "other" is someone with whom you don't know whether you can communicate. The "other" is like a foreigner or a child. If you say something to him or her, you can never be certain whether what you are trying to say is communicated. This concept of the "other" has a lot of theoretical implications though I cannot talk about them here because of the limitation of the space. For example, you no longer need to worry about the prison-house of language. You don't have to suffer from the closedness of language. It is impossible to introduce everything Karatani says in this book. All I can say is "Just read the book." If you do, you will see a rare intellectual accomplishment in philosophy/theory.

Rating:
Summary: A tremendous accomplishment!
Review: This book is a tremendous accomplishment. An intellectual pleasure. In the first half of the book, Karatani deals with what he calls "the will to architecture". According to him, the whole Western philosophy has been constructed on the basis of "the will to architecture" since Plato. (Can we see here the influence on Karatani from Nietzsche?) What is interesting in his attempt to deconstruct this "will to architecture", or a "building" constructed by it, is that he tries to get "outside" of it by taking "the will to architecture" to the extreme. Karatani calls this procedure "formalization". He refuses to presuppose the "outside" intuitively. "The will to architecture" deconstructs itself by the extreme "formalization". However, though this attempt is an tremendous attempt, he finally abandons it. For he realized that he had to presuppose the viewpoint which can look at the totality of the system from above though he did so in order to deconstruct that very totality of the system. What he did after this "turn-around" is to turn to the "outside". It might sound naive, but this "outside" is not intuitive at all. The "outside" I am talking about here is the "other". This "other" is someone with whom you don't know whether you can communicate. The "other" is like a foreigner or a child. If you say something to him or her, you can never be certain whether what you are trying to say is communicated. This concept of the "other" has a lot of theoretical implications though I cannot talk about them here because of the limitation of the space. For example, you no longer need to worry about the prison-house of language. You don't have to suffer from the closedness of language. It is impossible to introduce everything Karatani says in this book. All I can say is "Just read the book." If you do, you will see a rare intellectual accomplishment in philosophy/theory.