This book reveals a new sensiblility in architecture, exemplified by the projects of seven contemporary architects. The designs represent the independent efforts. Deconstructivism is a movement of postmodern architecture which appeared in the s, . Phillip Johnson and Mark Wigley, Deconstructive Architecture, p. Common among the two shows was the presence of Philip Johnson— architecture curator at MoMA from and , and guest.
|Published (Last):||8 July 2018|
|PDF File Size:||13.48 Mb|
|ePub File Size:||14.37 Mb|
|Price:||Free* [*Free Regsitration Required]|
Share your opinion regarding the quality and content in the courses you have participated in this semester! Skip jounson main content. In conjunction with her doctoral thesis defense, Di Carlo answered some questions regarding the myth and the force behind this soon to be year-old exhibition. Why did you choose to study this exhibition?
I wanted to choose something that was very topical and current, looking at the very next movement within architecture culture. At first I was going to look across three institutions — The Museum of Modern Art in New York, the Centre Georges Pompidou in Paris, and the Deutsches Architekturmuseum in Frankfurt— but this proved to be too large a topic, so in the end I chose to focus on just the one exhibition.
And, in doing this, I wanted to choose an exhibition around which a certain myth had been created.
Is exhibiting architecture different to exhibiting decostructivist cultural architectue Yes, I think so. Architecture is difficult because one is never working in the medium itself, but is also working with other media to represent, for better or worse, their thinking and the development of a project. This is something that is very difficult to convey to a general audience, and the modes of production, I would argue, test the very limits of what it means to display architecture. This has been a subject of great debate over the last fifteen years, and one of the reasons I chose to study at AHO.
The grant for Place and Displacement: Exhibiting Architecture allowed one great depth wrchitecture which to study making exhibitions within architecture culture. You say the exhibition constructed an apparatus, and was constructed by an apparatus; in what way do these constructing elements interact, what do they generate?
All of the elements of the apparatus — the media, installation, catalogue, symposia, and the stakeholders — must interact and in the case of Deconstructivist Architecture, interacted to canonize this event, despite the fact that the curators denied just such an intent. Foucault mentions that there is no inside nor outside to an apparatus — and so too here, it is a relational structure between these elements that could account deconnstructivist the shift.
The curators — Philip Johnson and Mark Wigley, for example, could be considered as two of the primary stakeholders.
Their power to choose who would be in and who would be out, played a great part in the making of history and the exhibition and it was a substantial part of the apparatus. But in general, what all these elements generated was debate and outrage; and these polemics fueled the press, which became not only a crucial element in the apparatus but in constructing a cultural shift.
The proliferation of discourse created by this exhibition, could you say a little more about this.
What happened, who took part, what marks did it leave? How does this take a new direction from previous history of exhibitions?
The discourse created by the exhibition started, as Mark Wigley would state as his desire for the symposium, an argument. Part of the point of this, and as again would be stated at the symposium, was to reinvigorate what critics had called the socially bankrupt and moribund discourse of architecture — at the time, this was late postmodernism that had been absorbed into the market. The key players in the polemics were both Johnson and Wigley, but also the critics and scholars in the press became pivotal.
Voices such as Michael Sorkin, Catherine Ingraham and Sylvia Lavin all jounson part, as did many journalists from the more popular press.
Could you say something more about the critical tools and analytical strategies of Deconstructivist Architecture.
Deconstructivist Architecture, Museum of Modern Art, New York City
The critical tools and analytical strategy of the exhibition functioned and played out in xeconstructivist would be called a very deconstructivist scenario. Things that were denied on the one hand, were reaffirmed on the other and through the very same apparatus that was in play. In fact It could be said that it happened even more strongly because of their very denial — such a denial fueled the polemics and debate within the press. I would say it is much broader.
Deconstructivism – Wikipedia
It has once again exploded into the international scene and culture at large. And there are a host of biennales and triennials now, in Oslo, Lisbon and Chicago, just to name a few. Semester Evaluation Fall Share your opinion regarding the quality and content in the courses you have participated in this semester! Diploma candidates – ready for the wor