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Pallasmaa, Juhani (2018): Habitar. Barcelona: Gustavo Gili p.57- 7 PRÓLOGO Habitar en el espacio y en el tiempo Juhani Pallasmaa “Para mí cualquier tipo de arquitectura, sea cual fuere su función, es una casa. Sólo proyecto casas, no arquitectura. Las casas son sencillas. Siempre mantienen una relación interesante con la verdadera existencia, con la vida”, confiesa el arquitecto Wang Shu, el ganador del premio Prtizker de 2012. Estoy en general de acuerdo con mi colega chino. La casa es un escenario concreto, íntimo y único de la vida de cada uno, mientras que una noción más amplia de la arquitectura implica generalización, distancia y abstracción. El acto de habitar revela los orígenes ontológicos de la arquitectura, y de ahí que afecte a las dimensiones primigenias de la vida en el tiempo y el espacio, al tiempo que convierte al espacio insustancial en espacio personal, en lugar y, en última instancia, en el domicilio propio. El acto de habitar es el medio fundamental

Specific Objects Donald Judd Half or more of the best new work in the last few years has been neither painting nor sculpture. Usually it has been related, closely or distantly, to one or the other. The work is diverse, and much in it that is not in painting and sculpture is also diverse. But there are some things that occur nearly in common. The new three-dimensional work doesn't constitute a movement, school or style. The common aspects are too general and too little common to define a movement (…) Three-dimensionality is not as near being simply a container as painting and sculpture have seemed to be, but it tends to that. But now painting and sculpture are less neutral, less containers, more defined, not undeniable and unavoidable. They are particular forms circumscribed after all, producing fairly definite qualities. Much of the motivation in the new work is to get clear of these forms. The use of three dimensions is an obvious alternative. It opens to anything. M

Traditional philosophy, almost by definition, has concerned itself with the unsaid. The nearly exclusive focus on the said by twentieth-century analytical linguistic philosophers is the shared contention that the unsaid is unsaid because it is unsayable (…) The result of Hegel’s influence has been that a great majority of contemporary philosophers are really little more than historians of philosophy, Librarians of the Truth, so to speak. One begins to get the impression that there “is nothing more to be said.” And certainly if one realizes the implications of Wittgenstein’s thinking, and the thinking influenced by him and after him, “Continental” philosophy need not seriously be considered here. (…) Is it possible, then, that in effect man has learned so much, and his “intelligence” is such, that he cannot believe the reasoning of traditional philosophy? That perhaps he knows too much about the world to make those kinds of conclusions? (…) The twentieth century brought in a time

Sentences on Conceptual Art by Sol Lewitt 1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. 2. Rational judgements repeat rational judgements. 3. Irrational judgements lead to new experience. 4. Formal art is essentially rational. 5. Irrational thoughts should be followed absolutely and logically. 6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results. 7. The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego. 8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations. 9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas