l

J

p a I i m p s e s t:
A Trace of the "Presence-Absence" in Architecture

PRE-SCRIPT
The Beginning of a Trace:
Examining the Opposition
This project is a personal investigation into some existing
ideas in architecture. The investigation is based on an attempt
to search for a possible connection between the architeclUTal
ideas of different times and contexiS. Taking the idea of
"Presence-Absence" in architecture as the beginning of the
trace, some inquiries are made into the oppositions:
What does "Presence-Absence" mean?
What does "Presence-Absence" mean in architecture?
What does architecture mean to "Presence-Absence"?
Tracing the idea from different discourses-philosophy and
architecture, the study projeciS some concepts of the opposition from different times --past and present, and from different contexiS--oriental and accidental.
This trace is presented in a continuous series of collages of
"Scripts"--copies and writings of literary text and "Graphic
Scripts" -copies and drawings of illustrated text The presentation takes the form of scrolled reading, starting from left
to right

by Chaiboon Sirithanawat
vo l ume

s e v e n

number

4

23

" one which marks the present stance in the historical continuum? If there were such. And we utilize what is absent -void and space. Therefore. And v. Together.THE PRESENTING SCRIPT 'PRESENCE-ABSENCE• Absence marks presence as well as presence marks absence. Is the present architecture an architecture of absence. As well.-e conceive absence by non-existence of presence. as well as maintaining its existence in space. we gain from what is present -solid and form. presence and absence beget and complement each other. Presence and absence mark architecture. should we. architecture through a continuum of history is a representation of man's presence in this absent world.RCEP'I10N NON-BEING • ABSENCE CONCEP'I10N SUBSTANCE FORM AKTEFACf NON-SUBSI'ANCE SPACE EDIHCE • • • • a: • • defer Thus "Presence-Absence" is the mode of representing architecture. an inseparable reality. We perceive presence by its existence in absence. In architecture. Form contains space. Presence forms absence. and simultaneously represent the "Architecture of the Present"? PAST MEMORY HISTORICAL PRESENT REAUIY CONTINUITY PAST PRESENT FUTURE TEKTONIK IDENTIFIABLE " EPOCH • • TECHNOLOGY . re-present that which is absent in the present architecture. the presence of form and the absence of space form a unity. and absence informs us of presence. one which ceases to represent the historical continuity? And is there an "Architecture of the Present. and how could we. REPRESENTATION PRESENTATION INTERPRETATION BEING PRESENCE PE.

it is this difference which is primal.5 -Jacques Derrlda "Point de folle-Maintenant l'arcbitecturt• . The concept of architecture is itself an inhabited construcJUm.3 -E. a monumenL .1 -Lao Tzu Tao Te Chinz. . . We pierce doors and windows to make a house. it must present iJ and. This architecture of architectlln has a history. it is historical through and through. it inhabils us. architecture must have a meaning. not even tM present or consciousness. Long and short contrast each other. ch. just as we take advantage of what is.. there is always a gap.2 We put thirty spokes togdher and call it a wheel. To defer means to be temporally separated (nothing ever is wholly present.·e reality is fundamentally spatial and temporal-think of what we mean by the built environment. a heritage whid1 comprehends us 1!\. . there is no original identity). But it is on the space where there is notlting that tlte utility of the vessel depends. Ofte explanation collapses into its contrary. an absence in the heart of reality. Men tltey all know tM good as good.. Front and behind accompany each other. Therefore. Since what ~·e take to be objecti\. Therefore. . through il. we should recognize the utility of what is not. And it is on these spaces where there is nothing that the utility of the house depends. differ and defer. is self-present or identical. There arises tlte recognilion of ugliness. Sound and voice hamwniu each otlter. being and non-bting produce each other. But it is on the space where there is nothing that the utility of the wheel depends. " as Derrida uses it. D. for o:ample-Derrida is claiming that there is no momenJ when anything is given as itself. a constTUction. has two senses. .. 4 -Robert Mugerauer "Derrida and Beyond" Le Corbusiu Let us never f~t that there is an architecture of architecture . ch. There arises the recognition of evil. Hlrsch... Difficult and easy complm each other. Axiom 2 In tlte temporal process of thinking about anything. This naturalized archilecture is bequeathed to us: we inhabit il. It To differ means to be spatially separaied (nothing. . signify. We turn clay to make a vessel. even tM present is always tklayed). in full self-present identity. means. 2 -Lao Tzu Tao Te Ching.THE PAST SCRIPT "TAOISM" THE PRESENT SCRIPT ORIENTAL Men the people of IM world all know beauty as beauty. we must recognize in it an artefact. Indeed. . .~n before we could submit it to thoughL . Jr.ll "DECONSTRU CI'ION' OCCIDENTAL Axioms of Deconstruction: Axiom 1 Everything can be given at least two equally cogent explanations. "Derrida's Axioms• "Differance.

a 11 Satural Column itr's Primitnt Hut TEKTO:\IK & TI:CH!'\OLOGY ldtntif"aablt Ep«h GREEK Par1htnon Athtn ROMAN 438 B.. CoiO\eum Rome A.SPACE Form & Space art Solid & Void Corinthian Order Caryatid ~ ~ l.THE GRAPHIC SCRIPT White Circle on \lhitt FOR.D.\t.C. 70 .

I ' . F. \ t t l / ~ '~ . Space Cast Iron Order Column Sk) SU11per H.) Presence Presence fom1s Absence ''· ' . o ..' . Frankfurt A. German 0DER."'.--../ ' ·' • .•!.\ i R~im ~ . ' I .'t lllack Circle on White S uart Form containjng Space forms containing Space form &. I . M. .. •. Labrouste Bibliothe ue National Paris 1868 Chica o Tribune To###BOT_TEXT###gt;tr Corn tition 1923 GOTHIC CLASSICIS: Cnthedrnl Rtim 1290 St. Pro '~t W.•• ' . ~. ': " . Pettr'' Romt 1564 Kohn PedHWn Fox Assoc. 1981 ro Lt Corbu itr Ctnler lA Corhu\itr Zurich 1967 .. P. •• . . . . .' 1..."PRESENCE-ABSENCE" form ~ Abunce I .

the great architecture of each period always reveals this exploituion through "tektonik" -a structural poetic which represents theidentfiabte epoch of architecrure. Therefore. 1963). searching f<X" new developmenlS.tektoni:k" are only two aspects in

Oh'ed in architectural discourse. (1988):p.66-67. no.. however. The Present Architecture 28 The Fiflh Column magazine . 4. The Way of Lao Tzu (New York: BobbsMerrill.27-8: "Telaoru~· referred not just to the activity of making the materially requisite consttuction.' However.CRTPT The End or Trace: The Absence or "Architecture of the Present" From the ''Presenc~Absence" in architecture. the architecture of the past never represents a total disruption from its precedent. is perpewally inherent in man. no single concept of architecture can be app~ted at all times and for all places.. Robert Mugerauer. W'mg-tsit Chan. 2. the reminisence st:Uning man's culrure is the representation ofhis development through the long continual process of civilization.65.D.. . is another aspect which resides in every period. NOTES 1. "memory" repre-sents its meaning as historical continuity.POST. p. vol. in London Reviews. "The Architecture of the Present" The second. Francis DJ(. "Point de folie-Maint.: Bay Press. As quoted from StBnford Anderson by Kenneth Frampton in '7owards a Critical Regionalism.lO. The auitude of looking forward LO the furure. Space & Order. p." The first. (New York: Van Nostrand Reinhold. Archilecture: Form. 1979). Architects invariably have LO search for that appropriateness for their specific time and place. Jacques Derrida.29. a jXimary principle of the architectural discipline. From ancient LO modem." The Anli-aesthetic.. and is waiting for • a new exploration for its appropriate presence.. The achievement ofarchitecwre. Port Townsend. The sense of bearing provided by the enta. 5. in fact. pp.The functionally adequate fonn must be adapted so as to give expression to its function. Ching. two notions are derived: "memory" and "lektonik. and from place LO place. The possibility of a new architecture in the aansition from one period LO another often resullS as a pan of the exploiLation of new materials and development in construction technology. and in each aspect its condition always changes from time LO time. Thus. 1983. 6. in Cenler. In the tranSfonnauon of architecture from one period to another. 3. Hirsch Jr.but rather to the 11Cliviry that raises this construction to an art form.. Because memory is always a part of man's life.sis of Greek columns became the touchstone of this concept of Teklonik. 4 ( 1988): pp. "Derrida and Beyond". "Derrida's Axioms". man can never detaeh himself from his past and memory. ''telctooik. The stain of the preceding period often remains and its meaning can be traced back toilS origin. in AA files. E.enantl'architecrure". Chaiboon Sirithanawat is a Masters of ArchiteCture student currently working on his thesis at McGill University. depends on many aspeclS.l2 (Swruner 1986): p. the paradigm of"Architecture or the Present" is always absent. both "memory" and . Wash.lOl.

Related Interests

Oh'ed in architectural discourse. (1988):p.66-67. no.. however. The Present Architecture 28 The Fiflh Column magazine . 4. The Way of Lao Tzu (New York: BobbsMerrill.27-8: "Telaoru~· referred not just to the activity of making the materially requisite consttuction.' However.CRTPT The End or Trace: The Absence or "Architecture of the Present" From the ''Presenc~Absence" in architecture. the architecture of the past never represents a total disruption from its precedent. is perpewally inherent in man. no single concept of architecture can be app~ted at all times and for all places.. Robert Mugerauer. W'mg-tsit Chan. 2. the reminisence st:Uning man's culrure is the representation ofhis development through the long continual process of civilization.65.D.. . is another aspect which resides in every period. NOTES 1. "memory" repre-sents its meaning as historical continuity.POST. p. vol. in London Reviews. "The Architecture of the Present" The second. Francis DJ(. "Point de folie-Maint.: Bay Press. As quoted from StBnford Anderson by Kenneth Frampton in '7owards a Critical Regionalism.lO. The auitude of looking forward LO the furure. Space & Order. p." The first. (New York: Van Nostrand Reinhold. Archilecture: Form. 1979). Architects invariably have LO search for that appropriateness for their specific time and place. Jacques Derrida.29. a jXimary principle of the architectural discipline. From ancient LO modem." The Anli-aesthetic.. and is waiting for • a new exploration for its appropriate presence.. The achievement ofarchitecwre. Port Townsend. The sense of bearing provided by the enta. 5. in fact. pp.The functionally adequate fonn must be adapted so as to give expression to its function. Ching. two notions are derived: "memory" and "lektonik. and from place LO place. The possibility of a new architecture in the aansition from one period LO another often resullS as a pan of the exploiLation of new materials and development in construction technology. and in each aspect its condition always changes from time LO time. Thus. 1983. 6. in Cenler. In the tranSfonnauon of architecture from one period to another. 3. Hirsch Jr.but rather to the 11Cliviry that raises this construction to an art form.. Because memory is always a part of man's life.sis of Greek columns became the touchstone of this concept of Teklonik. 4 ( 1988): pp. "Derrida and Beyond". "Derrida's Axioms". man can never detaeh himself from his past and memory. ''telctooik. The stain of the preceding period often remains and its meaning can be traced back toilS origin. in AA files. E.enantl'architecrure". Chaiboon Sirithanawat is a Masters of ArchiteCture student currently working on his thesis at McGill University. depends on many aspeclS.l2 (Swruner 1986): p. the paradigm of"Architecture or the Present" is always absent. both "memory" and . Wash.lOl.

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