Academic Scientific JournalsGdańsk Horizons in the Context of the Japanese Concept of Emptiness
DOI:
https://doi.org/10.26881/rgtn.2024.04Keywords:
emptiness, horizon, architectural memorials, space harmonyAbstract
Gdańsk, a city with a rich history marked by wartime destruction and the dynamic rebuilding of imposed aesthetics, currently stands at an intriguing juncture. It balances between nature, with its expansive horizons, and the compelling architecture of valuable voids. The absence resulting from demolitions – the tangible trace of loss and emptiness – can be described as an absent presence, alongside the ongoing process of refilling the space.
The Japanese concept of emptiness is one of the most intriguing yet elusive ideas in the aesthetics and philosophy of space. Its meaning extends far beyond physical emptiness, pointing to the potential between elements as a place for contemplation and breath. This article explores how the idea of emptiness can inspire contemporary artistic and architectural creation, developing spirituality in the historical and ideological aspects connected to the space of potential.
The Japanese context offers an interesting intercultural perspective for finding harmony in space. The transfer of concepts inspires reflection on the idea of emptiness and the need to create new places that connect with nature.
The culmination of these reflections is the “AINA: In Search of the Origins of the Japanese Concept” exhibition featuring the collection “Horizons” which took place in September 2024 at the Art in Architecture Gallery in Gdańsk, and concluded with a final event at Westerplatte. The interpretation of the concept of emptiness raises questions about presence, absence, and the relationality of forms. It engages in a dialogue between the material and immaterial, the visible and invisible, the local and universal.
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