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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. -
Curriculum Vita
CURRICULUM VITA Jeffrey Kipnis 3072 Stoney Bridge Lane Columbus, OH 43221 Telephone: o) 614-247-7612 h) 614/527-9854 email: [email protected] Current Positions: Professor, Ohio State University Department of Architecture (began 1987) Education: 1969-74 Georgia Institute of Technology 1975-76 Georgia State University, BS Physics 1979-81 Georgia State University, MS Physics Other Teaching: 1985 Harvard University, Visiting Critic, Lecturer 1985-88 The Cooper Union, Permanent Adjunct Professor 1985-86 University of Cincinnati, Visiting Professor 1987 Rennsselaer Polytechnic Institute, Visiting Professor 1987-8 The Ohio State University, Adjunct 1988 Architecture Intermundium, Como, Italy, Visiting Scholar 1989 University of Illinois, Chicago, Visiting Critic 1992-95 Architectural Association of London 1992-5 Founder and First Director of the Graduate Design Programme 1990- 2004 Columbia University, Visiting Professor 2006-07 Harvard, Visiting Professor 2008-2012 Distinguished Visiting Professor of Archtitecture Theory, Universitat fur Angewandte Kunst Wien 2012-2014 Visiting Professor, Princeton University 2015-2018 Distinguished Visiting Professor, Southern California Institute Architecture Films 2018 Jeffrey Kipnis: Greg Crewdson, Sciarc Channel/Youtube https://www.youtube.com/watch?v=_KTLGFDhwVk Jeffrey Kipnis, Tom Ball and Brian Neff, a Constructive Madness, Columbus, 2004 screening history highlights: Select Film Festivals: Aspen Film Festival, Melbourne Film Festival, Rotterdam Arts Film Festival, Montreal International Festival of Films on Art, IDEF Festival, Florence Italy, Woodstock Film Festival Institutional screenings of note: Yale, Columbia, Princeton, UCLA, Institute for Advanced Studies, National Gallery of Art, National Building Museum, Museum of Modern Art, the Weisman Museum NETA/PBS distribution for television Winner: Best Documentary, Montreal Festival of Films on Art 2005 Major Exhibitions as Curator 2017-18 Jeffrey Kipnis, Andrew Zago “Drawings Conclusions,” Sciarc Gallery, Los Angeles. -
Joseph Grigely East Longmeadow, Massachusetts, 1956 Lives and Works in Chicago, US
CV Joseph Grigely East Longmeadow, Massachusetts, 1956 Lives and Works in Chicago, US Education National Technical Institute for the Deaf New England College St. Anselm's College Oxford University Solo exhibitions (selection) 2018 Small talk, NoguerasBlanchard, Madrid, ES 2017 Park Nights 2017: Joseph Grigely, Blueberry Surprise, Serpentine Pavilion, London, UK 2016 Conversations, 1994-2016, Gandy Gallery, Bratislava, SVK 2015 The Gregory Battcock Archive, The Members Library, Gazer Kunstverein, Graz, AUT; Kunstverein, Hamburg, GE; Marian Goodman Gallery, London, UK Even If You Can’t Hear, Galerie Francesca Pia, Zurich, SUI 2014 Amy Vogel: A Paraperspective. A collaboration with Joseph Grigely, Cleve Carney Art Gallery, Glen Ellyn, US 2013 Joseph Grigely and Amy Vogel: Inside the Outside, Alderman Exhibitions, Chicago US 2012 Remains, Air de Paris, Paris, FR 2010 The Information Economy, The Architectural Association, New-York Art Book Fair, New York, US 2009 The Gregory Battcock Archive, Rowley Kennerk Gallery, Chicago, US The Paradise, Douglas Hyde Gallery, Dublin, IRL Songs Without Words, Sara Meltzer Gallery, New York, US 2008 St Cecilia, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, US; Museum of Contemporary Art, Chicago, US 2007 St Cecilia, Contemporary Museum, Baltimore, US; Orange County Museum of Art, Newport Beach, US 2006 Very different things about the same thing, Cohan and Leslie, New York, US 2005 It’s Everywhere, Air de Paris, Paris, FR 2004 Remembering is a difficult job, -
Joseph Grigely
JOSEPH GRIGELY Born in East Longmeadow, Massachusetts, 1956 Lives and works in Chicago http://www.airdeparis.com/artists/joseph-grigely/ Education National Technical Institute for the Deaf New England College St. Anselm's College Oxford University (*indicates publication) Solo Exhibitions 2017 Air de Paris, Paris - F Park Nights 2017: Joseph Grigely, Blueberry Surprise, Serpentine Pavilion, London - UK 2016 Conversations, 1994-2016, Gandy Gallery, Bratislava - S 2015 The Gregory Battcock Archive, The Members Library, Gazer Kunstverein, Graz ; Kunstverein, Hamburg - G ; Marian Goodman Gallery, London - UK Even If You Can’t Hear, Galerie Francesca Pia, Zurich - G 2014 Amy Vogel: A Paraperspective. A collaboration with Joseph Grigely, Cleve Carney Art Gallery, Glen Ellyn -USA* 2013 Joseph Grigely and Amy Vogel: Inside the Outside, Alderman Exhibitions, Chicago -USA 2012 Remains, Air de Paris, Paris -F 2010 The Information Economy, The Architectural Association, New-York Art Book Fair, PS1 -USA 2009 The Gregory Battcock Archive, Rowley Kennerk gallery, Chicago -USA The Paradise (32), Douglas Hyde Gallery, Dublin -IRE* Songs Without Words, Sara Meltzer Gallery, New-York -USA 2008 St Cecilia, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs –USA; Museum of Contemporary Art, Chicago -USA 2007 St Cecilia, Contemporary Museum, Baltimore –USA; Orange County Museum of Art, Newport Beach –USA* 2006 Very different things about the same thing, Cohan and Leslie, New York –USA 2005 It’s Everywhere, Air de Paris, -
Wa Kin Gup Fr Om Th En Ig Htmar Eof Par Tic Ipa Tio N
EXPOTHESIS waking up from the nightmare series in art research and public space of participation Expothesis is an outcome of the collaboration of Expodium Wake up from the Nightmare of Participation! This and MaHKU, the Utrecht Graduate School of Visual Art and book presents a platform for the development of proac- Design. It investigates the significance of artistic knowl- tive engagement and aims to fuel an agonistic debate edge production in regard to art and public space. Each among theorists and practitioners from various fields of year Expodium and MaHKU invite a prominent author to knowledge, cultural backgrounds and political positions throw light on these issues. about the central thesis of Markus Miessen’s recent Waking Up from the Nightmare of Participation is the sec- publication The Nightmare of Participation – Crossbench ond publication in the series. Praxis as a Mode of Criticality. WAKING UP FROM THE NIGHTMARE expothesis no.1: This book does not look for approval or consensual Politics, Identity and Public Space. Critical Reflections PARTICIPATION OF deliberation, but seeks for an agile examination of a in and Through the Practices of Contemporary Art, proposed post-consensual (spatial) practice, formulat- Mika Hannula, 2009. ing the necessity to undo the innocence of participation while promoting a conflictual reading of participation ICIPATION as a mode of proactive first person singular engage- 2 ment: a step towards a state of acting and an individual, OWRATNIK OWRATNIK 2 2 2 2 OM THE propositional practice. no no no no no ART OL P sis None of the contributions were content-edited; no con- K sis sis sis sis E — P FR E E E E sensual or editorial constraints were imposed on any of th the contributors. -
Joseph Grigely East Longmeadow, Massachusetts, 1956 Vive Y Trabaja En Chicago, US
CV Joseph Grigely East Longmeadow, Massachusetts, 1956 Vive y trabaja en Chicago, US Educación National Technical Institute for the Deaf New England College St. Anselm's College Oxford University Exposiciones individuales (selección) 2018 Small talk, NoguerasBlanchard, Madrid, ES 2017 Park Nights 2017: Joseph Grigely, Blueberry Surprise, Serpentine Pavilion, Londres, UK 2016 Conversations, 1994-2016, Gandy Gallery, Bratislava, SVK 2015 The Gregory Battcock Archive, The Members Library, Gazer Kunstverein, Graz, AUT; Kunstverein, Hamburg, GE; Marian Goodman Gallery, Londres, UK Even If You Can’t Hear, Galerie Francesca Pia, Zúrich, SUI 2014 Amy Vogel: A Paraperspective. A collaboration with Joseph Grigely, Cleve Carney Art Gallery, Glen Ellyn, US 2013 Joseph Grigely and Amy Vogel: Inside the Outside, Alderman Exhibitions, Chicago US 2012 Remains, Air de Paris, París, FR 2010 The Information Economy, The Architectural Association, New-York Art Book Fair, Nueva York, US 2009 The Gregory Battcock Archive, Rowley Kennerk Gallery, Chicago, US The Paradise, Douglas Hyde Gallery, Dublín, IRL Songs Without Words, Sara Meltzer Gallery, Nueva York, US 2008 St Cecilia, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, US; Museum of Contemporary Art, Chicago, US 2007 St Cecilia, Contemporary Museum, Baltimore, US; Orange County Museum of Art, Newport Beach, US 2006 Very different things about the same thing, Cohan and Leslie, Nueva York, US 2005 It’s Everywhere, Air de Paris, París, FR 2004 Remembering is -
Press Kit 9Th Berlin Biennale for Contemporary Art 4.6.–18.9.2016
Press Kit 9th Berlin Biennale for Contemporary Art 4.6.–18.9.2016 The Berlin Biennale is organized by KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation). Factsheet 9th Berlin Biennale for Contemporary Art The Present in Drag 4.6.–18.9.2016 The 9th Berlin Biennale for Contemporary Art seeks to materialize the digital condition and the paradoxes that increasingly make up the world in 2016: the virtual as the real, nations as brands, people as data, culture as capital, wellness as politics, happiness as GDP, and so on. With its selection of exhibition venues it aims to shape-shift across multiple sites, each one releasing a whiff of contemporary “paradessence” (paradox + essence). Curatorial Team DIS: Lauren Boyle Solomon Chase Marco Roso David Toro Director Gabriele Horn Duration of the Exhibition 4.6.–18.9.2016 Opening 3.6.2016, 7–10 pm, all venues (open to the public) First Day Open to the Public 4.6.2016, 11 am–7 pm Press Conference and Press Preview Press Conference: 2.6.2016, 11 am Venue: Allianz Forum, Pariser Platz 6, 10117 Berlin Press Preview: 2–3.6.2016, 10 am–6 pm, all venues (press accreditation necessary) Press Images Please contact [email protected] to request online access to the image archive. Internet Access Akademie der Künste, The Feuerle Collection, KW Institute for Contemporary Art: public WLAN access points ESMT European School of Management and Technology: password-protected WLAN access point, WiFi: 9thberlinbiennale, password: thepresentindrag -
EAAE News Sheet 63
Architecture, Design and Conservation Danish Portal for Artistic and Scientific Research Aarhus School of Architecture // Design School Kolding // Royal Danish Academy Editorial Toft, Anne Elisabeth Published in: EAAE Publication date: 2002 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for pulished version (APA): Toft, A. E. (2002). Editorial. EAAE, (63), 5-6. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 European Association for Architectural Education Association Européenne pour l’Enseignement de l’Architecture NEWS SHEET Secretariat AEEA-EAAE June/Juin 2002 Kasteel van Arenberg B-3001 Leuven Bulletin 2/2002 tel ++32/(0)16.321694 fax ++32/(0)16.321962 63 [email protected] http://www.eaae.be Announcements/Annonces Four Faces of Architecture 20th EAAE Conference, Stockholm, 8 - 11 May 2003 Preliminary Agenda Four Faces of Architecture The dynamics of architectural knowledge - from ● The plenary discussions on board the ferry established postures to the impact of future between Stockholm and Helsinki will consti- demands in education and research. -
Markus Miessen 170531
Centre for Research Architecture Goldsmiths College / University of London PhD Title: Crossbenching Subtitle: Towards a proactive mode of participation as a Critical Spatial Practice Author: Markus Miessen Upgrade Jurors: Prof. Dr. Andrea Phillips Dr. Andy Lowe Final Examiners: Prof. Dr. Adrian Lahoud Dr. Marko Daniel Mentor: Prof. Dr. Eyal Weizman May 2017 Declaration I, Markus Miessen, declare that this dissertation is the result of my own work and includes nothing, which is the outcome of work done in collaboration except as declared in the text. Information derived from the published and unpublished work of others has been acknowledged in the text and a list of references is given in the bibliography. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or other qualification at Goldsmiths College or any other University or similar institution. Markus Miessen, Berlin, May 2017 2 Acknowledgements Firstly I would like to thank Eyal Weizman, who – beyond being a continuous source of inspiration and mentor – has provided invaluable and on-going support and supervision throughout my PhD. I would also like to thank Keller Easterling, who – especially during the early phase of my research – acted as sparring partner and feedback loop, which I greatly appreciated. Particular thanks must go to the ground-control team at Goldsmiths, mostly to Susan Schuppli and Joanne Dodd, who always kept things under control. A very special thanks goes to all contributors of the four books, which I have submitted as part of my PhD. Amongst them, Chantal Mouffe and Eyal Weizman have been continuous conversation partners regarding my thoughts, ideas, and writing, be it within the remit of the PhD research, or outside of it, and deserve special mention. -
Scheidegger & Spiess
Scheidegger & Spiess Art I Photography I Architecture INTERNATIONAL NEW TITLES 2018–19 Content 5 Christoph Schaub 8 / 9 (compilation) Swiss Environmental Peter Zumthor Talks About 6 / 7 Action Foundation (editor) His Work Ruch & Partners Architects Dry Stone Walls A Biographical Collage Fundamentals, Construction 4 (editor) Guidelines, Significance Stanislaus von Moos, Close-up—Ruch & Partners Martino Stierli (editors) Architects 1996–2018 Eyes That Saw Architecture after Las Vegas 12 / 13 Almut Grunewald (editor) 16 The Giedion World 14 / 15 Mirjam Fischer, Anna Sigfried Giedion and Roland Jaeger Niederhäuser (editors) Carola Giedion-Welcker Photo-Eye Fritz Block Susi + Ueli Berger in Dialogue New Photography Furniture in Dialogue Modern Color Slides 10 / 11 Ivan Žaknic Klip and Corb on the Road The Dual Diaries and Legacies of August Klipstein and Le Corbusier on their Eastern Journey, 1911 20 Michael Auping (editor) Cosmic Theater The Art of Lee Mullican 18 Werner Feiersinger Overturn 19 Storm Janse van Rensburg (editor) Jacob Lawrence 17 21 Lines of Influence Antonella Camarda (editor) Michael Bird (editor) Bettina Pousttchi Lynn Chadwick A Sculptor on the Inter-national Stage 26 25 22 / 23 Dominic Büttner Meinrad Schade Jill Mellick Dreamscapes The Red Book Hours Unresolved Discovering C.G. Jung’s Art Mediums and Creative 24 Process Minoru Onoda 29 28 Katrin Luchsinger, Helen Tom Haller—Nuggets 27 Hirsch, Thomas Röske American Landscapes Colombia (editors) On the Brink of Paradise Extraordinary! Unknown Works from Swiss Psychiatric Institutions around 1900 30 Rahel Hartmann-Schweizer Schwarzflug 30 Oliver Schwarz Katja Baumhoff (editor) Drawings and Paintings 31 Othmar Eder 31 Kesselhaus Josephsohn Finding Images Fanni Fetzer (editor) (editor) Claude Sandoz. -
Folding in Architecture
FOLDING IN ARCHITECTURE @WILEY-ACADEMY TEN YEARS OF FOLDING MARIOCARPO olding in Architecture, first published in 1993 as a 'Profile' Heinrich W6llflin, have since brought this interpretive model to of Architectural Design, ranks as a classic of end-of-mil bear in a number of circumstances. 2 Obviously, the nineties start F lennium architectural theory.' It is frequently cited and ed angular and ended curvilinear. 3 By the end of the decade, generally perceived as a crucial turning point. Some of the with few exceptions, curvilinearity was ubiquitous. It dominated essays in the original publication have taken on lives of their own, industrial design, fashion, furniture, body culture, car design, and have been reprinted and excerpted - out of context, howev food, critical theory in the visual arts, sex appeal, the art of dis er, and often without reference to their first appearance in print. course, even architecture. Admittedly one of the most influential This ahistoric approach is characteristic of all works in progress: architectural writers of the decade, Rem Koolhaas, kept design so long as a tradition is still active and alive, it tends to acquire a ing in an angular mode, but the most iconic building of the time, timeless sort of internal consistency, where chronology does not Gehry's Bilbao, was emphatically curvilinear. In spite of the many matter. In Antiquity and in the Middle Ages such phases could varieties and competing technologies of curves that followed, last for centuries. But we have been living in times of faster curvilinear folds were and still are often seen as the archetypal change for quite a while now - we even had to invent a new phi and foundational figure of architecture in the age of digital plian losophy of history in the nineteenth century to take this into cy. -
110805 Aarchitecture15.Indd
Issue 15 News from the Architectural Association AARCHITECTURE VERSO AARCHITECTURE CONTRIBUTORS Architectural Association (Inc.) News from the Erandi de Silva Registered Charity No. 311083 Architectural Association [email protected] Company limited by guarantee Issue 15 / Summer 2011 Registered in England No. 171402 www.aaschool.ac.uk Eleanor Dodman Registered office as above [email protected] ©2011 All rights reserved Hugo Hinsley Published by the [email protected] Architectural Association 36 Bedford Square Emma Letizia Jones London WC1B 3ES [email protected] Contact: Naoki Kotaka [email protected] [email protected] Nicola Quinn +44 (0)20 7887 4033 Paul McAneary Please send your news items for the next [email protected] issue to [email protected] Jan Nauta EDITORIAL BOARD [email protected] Alex Lorente, Membership Brett Steele, AA School Director Martin Self Zak Kyes, AA Art Director [email protected] EDITORIAL TEAM Liam Young Nicola Quinn, Managing Editor [email protected] Claire McManus, Graphic Designer Scrap Marshall, Danielle Rago and Manijeh Verghese, Student Editors Cover image: The Looking Machine c 1983, Image courtesy of the Cedric ACKNOWLEDGEMENTS Price Estate, London. Two articles Shumon Basar celebrating the life and work of Cedric Valerie Bennett Price appear in this issue on pages 4–7 Kathleen Formosa Roz Jackson Joanne McCluskey Esther McLaughlin Roger Mead Charlotte Newman Simon Whittle Printed by Cassochrome, Belgium AARCHITECTURE Issue 15 2 Bedford