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MAS Context Issue 23 / Fall ’14 Ordinary MAS Context Issue 23 / Fall ’14 Ordinary 3 MAS CONTEXT / 23 / ORDINARY / 23 / CONTEXT MAS Welcome to our Ordinary issue. This issue seeks to explore the value of commonness and the everyday environment. It focuses on those elements that go unnoticed or that we take for granted, from buildings and objects to experiences and traditions. We look at the ordinary elements of life that are worth rediscovering and celebrating, as well as look ahead to what will become ordinary in the future. MAS Context is a quarterly journal that addresses issues that affect the urban context. Each issue delivers a comprehensive view of a single topic through the active participation of people from different fields and different perspectives who, together, instigate the debate. MAS Context is a 501(c)(3) not for profit organization based in Chicago, Illinois. It is partially supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts. MAS Context is also supported by Wright. With printing support from Graphic Arts Studio. [email protected] www.mascontext.com MAS Context 1564 North Damen Avenue, Suite 204 Chicago, Illinois 60622 Printed in the United States ISSN 2332-5046 5 Revisiting ORDINARY / 23 / CONTEXT MAS the Ordinary Issue statement by Iker Gil, editor in chief of MAS Context “It’s truly a common man marvels at uncommon things and a wise man marvels at the commonplace.” CONFUCIUS During a recent trip to my hometown, I realized that I had become, for a lack of a better word, a local tourist. Nothing that I did during my trip was new: I went to places that I had seen many times before, ate food that I grew up with, and attended celebrations that were a routine for years. However, having lived away from the city for many years made all those ordinary moments special. Every little detail became important and I paid close attention to things that I had taken for granted for many years. The trip pointed out something important: the need to look and enjoy all the ordinary places and moments in the city that we call home. We go through our lives without noticing them until, one day, we realize that they are no longer there: the local bar by your house, the traditional business impossible to replace, the unassuming building, or the dinners with friends that you expect to happen forever. Now, I am looking forward to rediscovering the ordinary elements of Chicago that I take for granted. All images by Iker Gil 7 MAS CONTEXT / 23 / ORDINARY / 23 / CONTEXT MAS 8 Superordinary: On the Problematique of the Ordinary 106 Domestic Hats Essay by Antonio Petrov Installation by Jennifer Bonner 16 Can Architecture Be Ordinary? 124 Glamour: Alleys as a Mechanism of the (Extra)Ordinary Essay by Deborah Fausch Essay by Linda Just 28 The Brain is Square 130 Ordinary Lilli-pot Spaces: Rendezvous in Tokyo Essay by Alberto Campo Baeza Essay by Zenovia Toloudi 36 There is No There There 148 In Suburbia Project by Michael Hirschbichler Short essay by Tom Keeley 60 There’s Nowt So Ordinary As Folk 150 A First Look at China Short essay by Ordinary Architecture (Elly Ward and Charles Holland) Text and photographs by Steven Montgomery 66 Precise Response, Novel Future 178 Design Inside Our Daily Lives Text and photographs by Michal Ojrzanowski Essay by Regina Pozo 74 The Veneer of Nostalgia: Dingbat Life in Slums of Beverly Hills 188 Wrong Chairs Essay by Joshua G. Stein Project by Norman Kelley (Carrie Norman and Thomas Kelley) 82 Designing for Other Things to Happen 200 Contributors Essay by Rojkind Arquitectos 202 Team 94 Zen and the Ordinary Short essay by Henry Shukman 204 Acknowledgements 98 Commercial Strip Tease Essay by David Karle 9 MAS CONTEXT / 23 / ORDINARY / 23 / CONTEXT MAS Superordinary: On the Problematique of the Ordinary Essay by Antonio Petrov Andy Warhol, Self-Portrait, 1972. © 1987 by the Andy Warhol Foundation for the Visual Arts, Inc Superordinary: On the Problematique of the Ordinary 11 No question about it, the obsession of the age is for ling forms—appropriated, adopted, or adapted in the social, ORDINARY / 23 / CONTEXT MAS the original version. Only the original possesses an aura, cultural, and political realms beyond the presumed qualities this mysterious and mystical quality that no second hand of the “extraordinary.” version will ever get. But paradoxically, this obsession Against this backdrop, notions of superordinary for pinpointing originality increases proportionally with conceptualize nuances and appropriations of contemporary the availability and accessibility of more and more copies design culture and its underlying theoretical underpinnings, of better and better quality.1 with the objective to recover productive links at a deeper thematic and methodological level. I argue that the epistemo- Bruno Latour logical framework of the “superordinary” contributes to a clearer logic toward a shift in focus from aesthetic conventions to critical How do we articulate architecture as an expanded definition dialogues between culture and design, meaning and form, know ing and knower, creation and dissemination, extending that infinitely varies in forms and aesthetic conventions, evolved, Andy Warhol, 1972. changed, and disintegrated beyond politically charged the discussions beyond the autonomous project and singularity, © 1987 by the Andy (canonical) constructions? And how do we move past the exhau- and thus a deeper exploration of its own possibilities. Warhol Foundation While the extraordinary is formulated through aesthetic for the Visual stion of theories and speculations that have acquired an aura A r t s , I n c of something akin to intelligence to confront a continually discourses, the superordinary turns to the absence, or the matter- of-fact presence, of the unnoticeable in an attempt to clarify Le Corbusier, contested subject? Villa Savoye, ca. Needless to say, to find answers is complex. Any attempt its paradoxical relationship to architecture and the city. For 1959. to capture the multifarious territory of theory and practice seem architecture, this means that we generally don’t think to design implausible; no single definition or spatial determination can something that would be considered ordinary. If anything, we include its multivalent readings, cultivations, and mappings; we fear of critics saying our designs are not special. As architects, call for broader and more nuanced definitions and continue to we believe our work is (always) extraordinary or “super,” meaning question the role, or rather, if architecture is the answer. For more excellent, very good, or at least pleasant. Something ordinary than half a millennium, or at least since the days when Leone would be considered mundane—that implies a lack of special- Battista Alberti or Andrea Palladio designed “extraordinary” ness or distinct features, and could be regarded as not worthy villas for their patrons in Italy, architecture has lost the ability of “design.” However, the routine and all other aspects that to critically mediate between ethical positions and aesthetic determine the ordinary make up a reality that seems unnoticed, formulations. Stereotyping, idiosyncratic characterizations, or at best is absent in design discourses. and the oxymoronic problematization of the larger subject only This brief characterization may help to make a distinction Hans Hollein, between “extraordinary” and “superordinary.” However, in a Golden Smart, 1968. indicate how bounded, or genuinely unbounded, architecture © MAK Archive– and its discourses are. It seems as if there is no capacity to reading of coincidentia oppositorum (unity of opposites), the Austrian Museum extend the means of its own determination beyond the own self. Greek philosopher Heraclitus suggests how opposing forces are of Applied Arts / necessary for the existence of things in the material world. The Contemporary Art The grand western narratives not only continue to yield this fruitful picture—of the previously dismissed particulars that unity of opposites is derived from the thesis of an object and belie any canonical view—but also the uses to which such inter- its antithesis, which provide the reference point from which to pretations were in fact put. describe each and quantify them as objects. In this context, the My account will not assume or attempt to clarify the term “extraordinary” does not necessarily help to further define contested relationships between history, theory, and practice; the ordinary other than being “hyperordinary” or “veryordinary.” or architecture and the city, in which architecture is subsumed In fact, it is the amplification of ordinary with no need for specific reference to the “ordinary” subject. Thus, the definition of Hans Hollein, in the ordinary and extends itself through it. Rather, the relation- Mobile Office, 1969. ships I attempt to associate with are relations to a “third” “superordinary” may provide an antithesis of ordinary that helps Howard Finster, © MAK Archive– 2 condition, the “superordinary,” and how it recovers new dialogues to define each, as the ordinary can only clearly exist in in the Self-Portrait, 1972. Austrian Museum presence of the “superordinary.” In his theory of dialectics, of Applied Arts / and new lines of critical inquiry. In contention is not the question, Contemporary Art “what is ordinary?” but “how is ordinary?”—in all of its compel- Georg Wilhelm Friedrich Hegel presupposes the factual basis Superordinary: On the Problematique of the Ordinary 13 for the existence of contradictions