The Theoretical Turn in Architecture 1960-2000: Structuralism/Poststructuralism Postmodernism, Deconstructivism, Folding, Blobs
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Wk14-Lynn Et Al-Folding in Architecture
FOLDING IN ARCHITECTURE @WILEY-ACADEMY INTRODUCTION GREG LYNN s I argued in the original Folding in Architecture essay, models of complexity, initially those derived from the work of since Robert Venturi and Denise Scott Brown's influential Rene Thom and later those of the Santa Fe Institute, among oth AComplexity and Contradiction in Architecture (1966), it ers. The combination of the discovery, for the first time by archi has been important for architecture to define compositional com tects, of a 300-year-old mathematical and spatial invention, that plexity. Ten years ago, the collected projects and essays in the is calculus, and the introduction of a new cosmological and sci first edition of this publication were an attempt to move beyond entific model of emergence, chaos and complexity, made for an Venturi's pictorial collage aesthetics and the formal and spatial extremely provocative and incoherent moment in architectural collage aesthetics that then constituted the vanguard of com experimentation. Today, a decade later, these interests have plexity in architecture, as epitomized by Johnson and Wigley's shaken out into more or less discrete schools of thought. 'Deconstructivist Architecture' exhibition at MoMA in 1988. The Intricacy connotes a new model of connectionism composed desire for architectural complexity in both composition and con of extremely small-scale and incredibly diverse elements. struction continues today and can be characterised by several Intricacy is the fusion of disparate elements into continuity, the distinct streams of thought, three of which have connections to becoming whole of components that retain their status as pieces the projects and arguments first laid out in the Architectural in a larger composition. -
The Abuse of Architectonics by Decorating in an Era After Deconstructivism
THE ABUSE OF ARCHITECTONICS BY DECORATING IN AN ERA AFTER DECONSTRUCTIVISM DECONSTRUCTION OF THE TECTONIC STRUCTURE AS A WAY OF DECORATION PIM GERRITSEN | 1186272 MSC3 | INTERIORS, BUILDINGS, CITIES | STUDIO BACK TO SCHOOL AR0830 ARCHITECTURE THEORY | ARCHITECTURAL THINKING | GRADUATION THESIS FALL SEMESTER 2008-2009 | MARCH 09 THESIS | ARCHITECTURAL THINKING | AR0830 | PIM GERRITSEN | 1186272 | MAR-09 | P. 1 ‘In fact, all architecture proceeds from structure, and the first condition at which it should aim is to make the outward form accord with that structure.’ 1 Eugène-Emmanuel Viollet-le-Duc (1872) Lectures Everything depends upon how one sets it to work… little by little we modify the terrain of our work and thereby produce new configurations… it is essential, systematic, and theoretical. And this in no way minimizes the necessity and relative importance of certain breaks of appearance and definition of new structures…’ 2 Jacques Derrida (1972) Positions ‘It is ironic that the work of Coop Himmelblau, and of other deconstructive architects, often turns out to demand far more structural ingenuity than works developed with a ‘rational’ approach to structure.’ 3 Adrian Forty (2000) Words and Buildings Theme In recent work of architects known as deconstructivists the tectonic structure of the buildings seems to be ‘deconstructed’ in order to decorate the building’s image. In other words: nowadays deconstruction has become a style with the architectonic structure used as decoration. Is the show of architectonic elements in recent work of -
1 Dataset Illustration
1 Dataset Illustration The images are crawled from Wikimedia. Here we summary the names, index- ing pages and typical images for the 66-class architectural style dataset. Table 1: Summarization of the architectural style dataset. Url stands for the indexing page on Wikimedia. Name Typical images Achaemenid architecture American Foursquare architecture American craftsman style Ancient Egyptian architecture Art Deco architecture Art Nouveau architecture Baroque architecture Bauhaus architecture 1 Name Typical images Beaux-Arts architecture Byzantine architecture Chicago school architecture Colonial architecture Deconstructivism Edwardian architecture Georgian architecture Gothic architecture Greek Revival architecture International style Novelty 2 architecture Name Typical images Palladian architecture Postmodern architecture Queen Anne architecture Romanesque architecture Russian Revival architecture Tudor Revival architecture 2 Task Description 1. 10-class dataset. The ten datasets used in the classification tasks are American craftsman style, Baroque architecture, Chicago school architecture, Colonial architecture, Georgian architecture, Gothic architecture, Greek Revival architecture, Queen Anne architecture, Romanesque architecture and Russian Revival architecture. These styles have lower intra-class vari- ance and the images are mainly captured in frontal view. 2. 25-class dataset. Except for the ten datasets listed above, the other fifteen styles are Achaemenid architecture, American Foursquare architecture, Ancient Egyptian architecture, -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Language in Architecture.Pdf
The Journey of Indian Languages: Perpectives on Culture and Society ISBN : 978-81-938282-6-7 Language in Architecture Rupa Singh The purpose of this paper is to trace the similarity between architectural styles and linguistics or nature of languages or narrative style in written form. Language as understood by mass is the method to communicate to each-other either orally or in written manner. Nature of the language can be anti-language, biased language, sexist language, natural language, body language, code switching, figurative language, Lingua-franca, taboo language, vernacular, killer or majority language. Nature of language is mirror to culture and civilization at any time in history. Similarly, Architecture is embraced in as many ways as there are architects or people commenting on their practices. Generally, it is taken as an art with Sciences as an attribute to create an object of aesthetics, social responsibility, and sensitivity. Architecture has evolved in nature of languages or style throughout the history of human and built environment. An architectural style includes form, building materials, or method of construction or regional character as distinguished features. Different Architectural styles, for example Romanesque Architecture, Gothic Architecture, Art Nouveau Architecture, Deconstructivism, Architecture; each of them has peculiar method of communicating their emotions, ideas with environment. Each of them can be explained in context of various phrases or narrative style like natural language, ornamental language, anti- language etc. Hamlet when asked in the drama ‗Hamlet‟ by Shakespeare‘ ―What do you read, my lord? He was made to say ‗Words, words, words‘. There is no sophisticated notion of ‗Words, words, words‘. -
Critical Regionalism: Whatever Happened to Autonomy
fusion-journal.com http://www.fusion-journal.com/issue/004-fusion-the-town-and-the-city/critical-regionalism-whatever-happened-to-autonomy/# Critical Regionalism: Whatever Happened to Autonomy Opening In his most recent take on “critical regionalism,” Kenneth Frampton revisits the dichotomy between centre and periphery. It is not the implied territorial divide that interest Frampton. At issue is how architecture could or should define the periphery in contrast to the hegemonic architecture unfolding in the centre. Frampton’s take is centred on the ways that technological apparatus, under the auspices of capitalism, transform the cities one- dimensionally. From China to wherever else that capital today finds a home for fast accumulation, we witness “the mediagenic impact of spectacular form which is,” Frampton observes, “as much due to the capacity of ‘superstar architects’ to come up with sensational, novel images as to their organizational competence and technical abilities.”[i] For a better understanding of Frampton’s position we need to give attention to the change in the title of his text. Since the rise of postmodernism, Frampton has constantly searched for alternative(s) in the work of architects who sidetrack the post-sixties turn to historical eclecticism and the drive for formal autonomy, to mention two dominant tendencies of the time. As early as the 1980s, Frampton mapped the thematic of “critical regionalism” with phenomenological aspiration for the duality between “national culture” and civilization. [ii] Exploring the early -
It Would Be Hard to Find an Architect Or Historian Who Has Not Read Kenneth Frampton’S Work
It would be hard to find an architect or historian who has not read Kenneth Frampton’s work. Frampton, who has been the Ware Professor of Architecture at the Graduate School of Architecture, Planning, and Preservation at Columbia University since 1972, has played a transformative role in the fields of architectural history, theory, and criticism. The question is not whether he has shaped our discipline, but rather how many times he has done so. Frampton co-founded the Institute for Architecture and Urban Studies (IAUS) in New York in 1967. Through the Institute’s public programs and its ambitious publishing agenda— which included the seminal journal Oppositions (1973–84) and an eponymous imprint at MIT Press—Frampton helped advance a critical discourse in which theory played a central role in debates over the practices of architecture and urban design. Many of the themes explored at the IAUS and Oppositions would reappear frequently in Frampton’s work, which synthesized phenomenology and hermeneutics with the critical theory of the Frankfurt School. The Institute published a number of primary texts in English for the first time, and introduced American readers to such figures as Aldo Rossi and Manfredo Tafuri. In 1980, Thames and Hudson published Frampton’s Modern Architecture: A Critical History, and the book quickly became the standard text on the subject. Now in its fourth edition, Modern Architecture expands on the work of pioneering historians like Pevsner and Banham to invest the story of architectural modernism with appropriate complexity. The book is extraordinary in its breadth and in the range of intellectual movements and geographical contexts represented. -
Deconstructivism: Richness Or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1
Deconstructivism: Richness or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1 1School of Landscape Architecture, Beijing Forestry University, 35 Qinghua East Road Beijing, 100083 China Abstract: In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world’s largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We’ve based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor’s satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor’s satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative, -
Similarity of Grammars of Architectural Space in Canonical Icons and the Architecture of Deconstructivism
ARCHITECTURAL STUDIES Vol. 5, No. 1, 2019 Khrystyna Kramarchuk, Olga Chelombitko SIMILARITY OF GRAMMARS OF ARCHITECTURAL SPACE IN CANONICAL ICONS AND THE ARCHITECTURE OF DECONSTRUCTIVISM Lviv Polytechnic National University 12, S. Bandery Str., Lviv, 79013, Ukraine [email protected], [email protected] Received: 19.02.2019 / Revised: 12.06.2019 / Accepted: 18.07.2019 © Kramarchuk K., Chelombitko O., 2019 Abstract. The analogies in the grammar of architectural space in an icon and the architecture of deconstructivism have been revealed, the factors of influence on the formation of the grammar of the architecture of deconstructivism and architectural space in an icon have been listed, as well as the comparison of the grammar of the architecture of deconstructivism and architectural space in an icon has been made. Key words: perceptual perspective, reverse perspective, architectural space in an icon, the architecture of deconstructivism. 1. Introduction 1.1. Problem stating: The evolutionary scientific tendency to knowledge gaining and the psychological peculiarity of human perception through associative-figurative interaction of objects led to the discovery of common rules in construction of the architecture of deconstructivism and architectural space of an icon. A new look at the well-known things generates new knowledge. Destructive fragments of the architecture in icons, which are built according to the laws of perceptual perspective, generate associations with the architecture of deconstructivism and, as a result, encourage -
A Conversation with Kenneth Frampton
A Conversation with Kenneth Frampton STAN ALLEN AND HAL FOSTER Hal Foster: Our occasion is the recent publication of Labour, Work and Architecture (2002), but we should also look back to Studies in Tectonic Culture (1995) and further back, given its wide readership, to Modern Architecture: A Critical History (1980). Let’s begin with your formation as an architect. Kenneth Frampton: I was trained at the Architectural Association (AA) in London from 1950 to 1956. After that I went into the British Army for two years, which was a ridiculous experience except for basic training. I then went to Israel for a year, which was a positive experience, architecturally speaking, in that it was a simpler country with a basic building technology. Within this limited scope, one was free to do what one wanted. I returned to London and started to work for Douglas Stephen and Partners, a relatively small practice in the City Center. I was an associate of this office until I left for the States in 1965. Foster: Whom did you confront at the AA, in terms of teachers and fellow students? Frampton: My group at the AA is a lost generation in many ways. There were and still are peers of considerable talent, but they’ve had mixed careers. Neave Brown is surely one of them. He has had the long career as a housing architect, but it hasn’t been easy for him. Perhaps the most talented of my generation was Patrick Hodgkinson, who worked briefly with Alvar Aalto as a student, and then for Leslie Martin in Cambridge. -
Another Chance for Housing: Low-Rise Alternatives; Brownsville, Brooklyn, Fox Hills, Staten Island : [Catalogue Of] an Exhibitio
Another chance for housing: low-rise alternatives; Brownsville, Brooklyn, Fox Hills, Staten Island : [Catalogue of] an exhibition at the Museum of Modern Art, June 12-August 19, 1973 Designed by the Institute for Architecture and Urban Studies for the New York State Urban Development Corporation Author Museum of Modern Art (New York, N.Y.) Date 1973 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2538 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art 1 The Museum of Modern Art AnotherChance for Housing: Low-Rise Alternatives New York Institutefor Architecture Brownsville,Brooklyn and Urban Studies Fox Hills, Staten Island New York State Urban DevelopmentCorporation i i i i i i i * Museum of Modern Art Another Chancefor Housing: Low-Rise Alternatives An exhibition at the Museum of Modern Art Brownsville, Brooklyn June 12-August 19, 1973 Fox Hills, Staten Island Designed by The Institute for Architecture and Urban Studies for The New York State Urban Development Corporation The Museum of Modern Art New York LIBRARY Mnseuti of Modern Art fiRChchive -4- =>?/ /97S Trustees of the The Institute for Architecture Museum of Modern Art /037 and Urban Studies William S. Paley, Chairman Fellows Marcus Garvey Urban Renewal Area, Gardner Cowles, Vice Chairman Stanford Anderson Henry Allen Moe, Vice Chairman Brownsville, New York City (Urban' Peter D. Eisenman, Director Application ) David Rockefeller, Vice Chairman William Ellis Mrs. John D. -
Kenneth Frampton CV
Kenneth Frampton Curriculum Vitae EDUCATION 1957 A.R.I.B.A., Architectural Association (London) 1956 Dipl. Arch., Dipl. Trop., Architectural Association (London) ACADEMIC POSITIONS 1974-present Ware Professor of Architecture, GSAPP, Columbia University, New York 2009 Plym Distinguished Visiting Professorship, University of Illinois at Urbana-Champaign School of Architecture 2007 Visiting Professor at City College 1993-2006 Director, Ph.D. Program in Architecture (History and Theory), Columbia University, New York 1998-2003 Visiting Professor, Università della Svizzera italiana, Accademia di architectettura, Mendrisio, Switzerland 1997-98 Bienecke Reeves Visiting Professor, University of Florida, Gainesville, Florida and Vicenza, Italy 1990-97 Visiting Professor, Berlage Institute, Amsterdam, The Netherlands 1995 Wei Lun Visiting Professor, The Chinese University of Hong Kong Visiting Professor Ecole Polytechnique Federale de Lausanne, Switzerland 1994 Visiting Professor, University of Naples, Italy 1990 Thomas Jefferson Visiting Professor of Architecture University of Virginia, Charlottesville, Virginia Visiting Professor, Eidgenosche Technische Hochschule, Zurich, Switzerland 1989-90 Visiting Professor, CISA Summer School Vicenza, Italy Visiting Professor, School of Architecture University of Palermo, Sicily, Italy 1988 Walker Ames Visiting Professor, University of Washington 1987 Visiting Professor, Catholic University, Cordoba, Argentina Visiting Professor, School of Architecture, University of Palermo, Sicily, Italy 1986-87 Chairman,