Frederick Kiesler was born in 1890 in Czernowitz (then a part of the Austro-Hungarian empire, but now in Ukraine). Studied at the Technische Hochschule but without finishing his studies, he started a brief collaboration with architect Adolf Loos in 1920, and in 1923, he became a member of the De Stijl group. The Endless House is not a real building, is just a vision in Kiesler’s mind and its practical realisation has never come pass. In his writings Inside The Endless House, published in 1966, he talks with these words about his most interesting project:
The Endless House is called the “endless” because all ends and meet continously.
It is endless like the human body. There is no beginning and end to it. The “Endless” is rather sensuous. More like the female body in contrast to sharp-angled male architecture.
All ends meet in the “Endless” as they meet in life. Life’s rhythms are cyclical. All ends of living meet during twenty-four hours, during a week, a lifetime. They touch one another with the kiss of time. They shake hands, stay, say goodbye, return through the same or other doors, come and go through multi-links, secretive or obvious, or through the whims of memory.
One box next to another.
One box below another.
One box above another.
Until they grow into tumors of skycrapers.
The coming of the Endless House is inevitable in a world coming to and end. It is the last refuge for man as man.