DOCSLIB.ORG

NATØ: Exploring Architecture As a Narrative Medium in Postmodern London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NATØ: Exploring Architecture As a Narrative Medium in Postmodern London NATØ: Exploring architecture as a narrative medium in postmodern London Claire A. Jamieson A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the Degree of Doctor of Philosophy September 2014 For James – who kept me sane. And for Ian and Anne, whose support made it possible. Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgment. 7 Abstract This thesis is concerned with the way that architecture, (that is space, buildings, cities and urban environments), has been and continues to be speculated upon through a rich palette of narrative methods. Taking NATØ, the group of young architects led by Nigel Coates that emerged from the Architectural Association in the early 1980s as its subject matter, the thesis questions how architectural production is able to narrate and the modes and methods it employs. The research reveals echoes and resemblances between NATØ projects and a wider artistic, filmic and literary culture that emerged from the specific political, social and physical conditions of 1980s London. Personal archives of original NATØ material – including drawings, photographs, magazines, ephemera and writings – are exposed for the first time. Combined with personal interviews with NATØ members and other significant individuals, the narrative traces the group’s evolution and development at the AA in Unit 10 in the late 1970s, to their active period between 1983-1987. The thesis also examines the key influences of Coates and his early work: exploring his relationship with Bernard Tschumi, the influence of a period spent in New York and his association with diverse artists and filmmakers in London. As such, the research presents the first detailed examination of NATØ and produces original insight into the territory of architectural narrativity. The thesis contextualises this moment of narrative architecture with the evolution of narratology over the same period – a discipline whose changing consideration of narrative in the 1980s expanded from a literary basis to take in a broad range of media. Engaging with contemporary narratology, the thesis employs concepts and terms from narrative studies to develop an interdisciplinary understanding of how narrative functions in architectural production. The thesis also constitutes a history of postmodernism that represents an alternative to the dominant architectural mode, considering NATØ’s output as a subcultural form of architectural production that drew on techniques of bricolage, montage, fragmentation, polyvocality and defamiliarisation. Framing NATØ’s work through an understanding of the way in which their use of medium evolved alongside their conceptual ideas, the thesis considers the material in relation to four distinct areas, each constituting a chapter: performance and video, the drawing, the magazine and the exhibition. Chapter 1 on performance and video exposes the influence of both Tschumi and a pivotal year spent in New York on Coates, and the development of his ideas from student to co-tutor at the AA in the late 1970s. The chapter proposes a move from the highly cerebral and literary approach of Tschumi, to one concerned with the presentness of direct experience via video. Chapter 2 takes the architectural drawing as its subject, showing how Coates evolved the drawing in his unit at the AA in the early 1980s, and how in turn NATØ employed the drawing as an 8 expressive narrative medium. Chapter 3 considers the group’s self-published magazine, NATØ, produced between 1983-85, drawing parallels with street style publications i-D and The Face, of the same era. The chapter proposes the graphic design of the magazine as a medium through which NATØ developed the explorations of the drawings into a more complex form – positing the idea of the mise-en-scène of the magazine. Finally, Chapter 4 examines the apotheosis of NATØ’s output: the exhibitions Gamma City at the Air Gallery (London, 1985), and Heathrow part of ‘The British Edge’ at the Institute of Contemporary Art, (Boston, 1987). Taking the ideas established in the previous chapter into three dimensions, the chapter proposes the installation as a microcosm of the narrative experience of the city that NATØ sought – evoked through an embodied drift through space, and the replacement of the architectural scale model with the auratic object or stimulator artefact. Concluding, the framework of narrative architecture set out in the thesis is proposed as both a period preoccupation and a way of thinking about spatial narrativity more broadly. It critical assesses the potential for such architectural narrativity to be designed and built, finding the truest form of narrative architecture emerging from the city condition itself. Finally, the conclusion proposes a lineage of projects and ideas that have evolved since the late 1980s whose concepts represent a continuation of NATØ’s preoccupations. 9 Table of contents Abstract List of illustrations Acknowledgements Author’s declaration Introduction ‘Excite and Offend’ London A reappraisal of postmodernism A subcultural architecture The narrativist decade Narrativisation Structure and methodology Chapter 1: From object to action: Performing architecture – 1973-81 Introduction Bernard Tschumi 1973-79 - The dematerialisation of architecture - The Manhattan Transcripts: architecture of notation Nigel Coates 1975-1981 - The performance of making space - Spatial theatricality - From theory to action - New York 1980-81 - Ski Station Towards a subcultural architecture - Bring sensation to architecture - The arrival of video Chapter 2: A new expressionism: Drawing architecture – 1982-84 Introduction Architectural drawing - Drawing as architecture - The drawing’s shadow The narrative drawing - Viewing narratively - Pictorial narrativity Drawing at the Architectural Association – 1970-83 - Emancipating the architectural drawing - Themes - Rem Koolhaas, Elia Zenghelis The possibility of the sketch - ‘Funny drawings’ - Albion The madness is the method - Montage Drawing time - The perpetual drawing - The drawing body - ArkAlbion 10 Chapter 3: The mise-en-scène of the magazine – 1983-84 Introduction NATØ magazine The subversion of the magazine Publishing at the AA The creation of an architectural fanzine NATØ 1: Navigating the page ‘On the Boardwalk’ The magazine as polyphase narrative NATØ 2: Bricolage as oppositional strategy House for Jarman ‘Dress Apprentice’ ‘Albionize Your Living Room’ Critical bricolage Chapter 4: Dreaming the city: Exhibiting architecture – 1985-87 Introduction Exhibiting architecture - Architectural exhibiting in the twentieth century - From exhibition to installation - The architectural installation - The Presence of the Past The installation as narrative medium: Gamma City (1985) - Installation as event - The navigable space of the installation Replacing the architectural model - The ‘stimulator artefact’ - Street vernacular - ‘Radio Dog’ - Creative salvage - The totem and the dreamscape A Festival of Britain - The British Edge - ‘English empiricism’ - Heathrow Conclusion The end of the story Narrative architecture After NATØ 11 List of illustrations Introduction Figure 1: Note from Mark Prizeman to NATØ members, 24 February (1984). Chapter 1 Figure 1: Catalogue page – Dan Graham, A Space: A Thousand Words, Royal College of Art (1975) Figure 2: Catalogue page – Nigel Coates, A Space: A Thousand Words, Royal College of Art (1975) Figure 3: Daniel Buren, Peinture-Sculpture, Guggenheim New York, (1971). Figure 4: Trischa Brown, notation for Locus (1975 – combining numerical scores, diagrams and biographical notes. Figure 5: Trischa Brown, notation for Locus (1975 – combining numerical scores, diagrams and biographical notes. Figure 6: Lev Vladimirovich Kuleshov’s experiment in montage – perception of the face on the left is altered according to which shot accompanies it. Figure 7: Tripartite system of notation, combining spatial and temporal elements to be narrativised by the reader. Bernard Tschumi, The Manhattan Transcripts, (1976-81) Figure 8: Deconstructed notation, emphasising the disjunction between space and event. Bernard Tschumi, The Manhattan Transcripts, (1976-81) Figure 9: Architectural notation influenced by musical and choreographic scores. John Perver, The Theatre of Restriction, (1978) Figure 10: Sheets from a portfolio of a project titled Blythburgh Lodge – the inhabitation of a house in Suffolk by Nigel Coates, Jenny Lowe and Antonio Lagarto. Nigel Coates, (1975) Figure 11: Sheets from a portfolio of a project titled Blythburgh Lodge – the inhabitation of a house in Suffolk by Nigel Coates, Jenny Lowe and Antonio Lagarto. Nigel Coates, (1975) Figure 12: Nigel Coates, Blythburgh Lodge, (1975) Figure 13: Front cover for Housework portfolio, showing the house in Camden inhabited by the group. Nigel Coates, Housework, (1975) Figure 14: Nigel Coates occupying a room for a performance work, Housework, (1975) Figure 15: Pages from portfolio showing notation and instructions for performance and installation works. Nigel Coates, Housework, (1975) Figure 16: Pages from portfolio showing notation and instructions for performance and installation works. Nigel Coates, Housework, (1975) Figure 17: Nigel Coates and Antonio Lagarto performing A Marat
Load more

Recommended publications
  • Milan and the Lakes Travel Guide
    MILAN AND THE LAKES TRAVEL GUIDE Made by dk. 04. November 2009 PERSONAL GUIDES POWERED BY traveldk.com 1 Top 10 Attractions Milan and the Lakes Travel Guide Leonardo’s Last Supper The Last Supper , Leonardo da Vinci’s 1495–7 masterpiece, is a touchstone of Renaissance painting. Since the day it was finished, art students have journeyed to Milan to view the work, which takes up a refectory wall in a Dominican convent next to the church of Santa Maria delle Grazie. The 20th-century writer Aldous Huxley called it “the saddest work of art in the world”: he was referring not to the impact of the scene – the moment when Christ tells his disciples “one of you will betray me” – but to the fresco’s state of deterioration. More on Leonardo da Vinci (1452–1519) Crucifixion on Opposite Wall Top 10 Features 9 Most people spend so much time gazing at the Last Groupings Supper that they never notice the 1495 fresco by Donato 1 Leonardo was at the time studying the effects of Montorfano on the opposite wall, still rich with colour sound and physical waves. The groups of figures reflect and vivid detail. the triangular Trinity concept (with Jesus at the centre) as well as the effect of a metaphysical shock wave, Example of Ageing emanating out from Jesus and reflecting back from the 10 Montorfano’s Crucifixion was painted in true buon walls as he reveals there is a traitor in their midst. fresco , but the now barely visible kneeling figures to the sides were added later on dry plaster – the same method “Halo” of Jesus Leonardo used.
    [Show full text]
  • Youth, Gender, and Education in Fascist Italy, 1922-1939 Jennifer L
    James Madison University JMU Scholarly Commons Senior Honors Projects, 2010-current Honors College Spring 2015 The model of masculinity: Youth, gender, and education in Fascist Italy, 1922-1939 Jennifer L. Nehrt James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors201019 Part of the European History Commons, History of Gender Commons, and the Social History Commons Recommended Citation Nehrt, Jennifer L., "The model of masculinity: Youth, gender, and education in Fascist Italy, 1922-1939" (2015). Senior Honors Projects, 2010-current. 66. https://commons.lib.jmu.edu/honors201019/66 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2010-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Model of Masculinity: Youth, Gender, and Education in Fascist Italy, 1922-1939 _______________________ An Honors Program Project Presented to the Faculty of the Undergraduate College of Arts and Letters James Madison University _______________________ by Jennifer Lynn Nehrt May 2015 Accepted by the faculty of the Department of History, James Madison University, in partial fulfillment of the requirements for the Honors Program. FACULTY COMMITTEE: HONORS PROGRAM APPROVAL: Project Advisor: Jessica Davis, Ph.D. Philip Frana, Ph.D., Associate Professor, History Interim Director, Honors Program Reader: Emily Westkaemper, Ph.D. Assistant Professor, History Reader: Christian Davis, Ph.D. Assistant Professor, History PUBLIC PRESENTATION This work is accepted for presentation, in part or in full, at Honors Symposium on April 24, 2015.
    [Show full text]
  • Italy (Italian Republic)
    CultureGramsTM World Edition 2015 Italy (Italian Republic) thousand years; one of the first civilizations to flourish was BACKGROUND that of the Etruscans, between the eighth and second centuries BC. The Etruscans influenced mostly central Italy and, later, Land and Climate the Roman Empire. Before the Romans became prominent, Italy, including the islands of Sardinia and Sicily, is slightly Greek civilization dominated the south. Rome later adopted smaller than Norway and slightly larger than the U.S. state of much of the Greek culture and became a major power after Arizona. It boasts a variety of natural landscapes: from the 300 BC as it expanded throughout the Mediterranean region. alpine mountains in the north to the coastal lowlands in the By the fifth century AD, the western Roman Empire had south. Shaped like a boot, the country is generally fallen to a number of invasions. The peninsula was then mountainous. The Italian Alps run along the northern border, divided into several separate political regions. In addition to and the Apennines form a spine down the peninsula. Sicily local rulers, French, Spanish, and Austrian leaders governed and Sardinia are also rocky and mountainous. The “heel” and various parts of Italy. The Italian Peninsula was the center of some coastal areas are flat. The Po River Basin, to the north, many artistic, cultural, and architectural revolutions, holds some of Italy's richest farmland and most of its heavy including the great Renaissance of the 15th and 16th industry. centuries. Southern agricultural areas are subject to droughts. The Unification and Fascism climate is temperate but varies by region.
    [Show full text]
  • I Theatre and Architecture
    29 THEATRE ARTS REVIEW Scena, ISSN 0351-3963 Theatre Arts Review No. 29 NOVI SAD, 2016 January–December CONTENTS Radivoje Dinulović SPACE IN THE 20th CENTURY THEatrE ...... > 5 Translated by > Olivera Gračanin Zoran Đerić FROM THE Crisis OF THEatER TO Crisis THEatrE, TOWarDS THE THEatrE OF NEW DraMatURGY .......... > 16 Translated by > Vera Krmpot Marina Milivojević Mađarev The Sterijino pozorje competition for contemporary play THE NEW READING OF THE WINNING DraMas . > 21 Translated by > Vera Krmpot Tanja Šljivar WE ARE THE ONES OUR ParENts WarNED Us ABOUT......................> 31 Translated by > Cory Tamler and Željko Maksimović Božidar Knežević THE ILLUstratED ENCYCLOPEDia OF EXtiNCtiON .........................> 59 Translated by > Vera Krmpot Robert Šili THE WiZarD............................> 111 Translated by > Vera Krmpot THEATRE ARTS REVIEW 5 > Radivoje Dinulović I THEATRE AND ARCHITECTURE 1 THEatrE IN THE TYPOLOGY OF SPACE arCHitECTUraL OBJECts mong many types of architectural objects, theatres th have a distinct place. Or is it just our understanding IN THE 20 A – we might even say a preconception, which arises from contemplating about multifaceted spiritual and ar- chitectural programme of these edifices, their complex CENTURY functional and technological structure, urban, social, and even ideological function. However, through in-depth re- search and evaluation of the contribution that theatre ar- chitecture has given to the very phenomenon of theatre THEATRE on one side, and the place and the role of theatre struc- tures in the history of architecture on the other side, we Translated by > Olivera Gračanin will come to very different conclusions. The venues where scene events are to be performed in the modern era which almost coincides with the 20th Century, from Antoine to Stanislavski, Appia, Craig, Re- inhardt, Copeau, Meyerhold or Brecht, till Brook, Schech- ner, Schumann, Grotowski, and Stein – is one of the ba- sic themes of revising the construction of theatre.
    [Show full text]
  • The Kiss by F. Hayez
    DESCRIVEDENDO THE MASTERPAINTINGS OF BRERA The Kiss by Francesco Hayez ​ Pinacoteca di Brera, Room 38 Formal Description The painting's full title is The Kiss. An Episode of Youth. Costumes of the ​ ​ ​ th 14 Century​ , but it is more commonly known as just The Kiss. It was ​ ​ ​ ​ painted by Francesco Hayez in 1859. It is a rectangular oil painting on canvas, the longer side being the vertical one, and it measures 112 cm in height by 88 cm in width. The subject matter is fairly simple: the painting provides a realistic depiction of a young man and a young woman passionately embracing as they kiss each other on the lips. The two figures, elegantly clad in medieval attire, are in an empty space inside a period building. The viewpoint is from the front, with the two lovers portrayed full-figure and approximately half life-size. To get a clearer idea of the painting, we should try to imagine it split into nine equal sections obtained by crossing three vertical columns with three horizontal lines. For the sake of convenience, we can number each sector like the keypad on a phone from left to right: 1, 2, 3 at the top; 4, 5, 6 in the middle; and 7, 8, 9 at the bottom. Let us begin our description with the central sections, 5 and 8 (and 2, in part) which is where the two young lovers are situated in the painting. They are standing one in front of the other: the girl in the foreground with her back towards us is almost enveloped by the boy who, on the contrary, is facing us.
    [Show full text]
  • AD Magazine and the Post-Modernisation of Architecture. ARQ: Architectural Research Quarterly 2018, 22(1)
    Parnell S. Architecture’s Expanding Field: AD Magazine and the Post-Modernisation of Architecture. ARQ: Architectural Research Quarterly 2018, 22(1) Copyright: This article has been accepted for publication by Cambridge University Press Link to Publisher website: https://www.cambridge.org/core/journals/arq-architectural-research-quarterly Date deposited: 24/05/2018 Newcastle University ePrints - eprint.ncl.ac.uk Architecture’s Expanding Field: AD Magazine and the Post-Modernisation of Architecture Stephen Parnell London, May 1979: Margaret Thatcher was voted Prime-Minister of the UK; and Haig Beck resigned as the Editor of AD (the magazine formerly known as Architectural Design), leaving Andreas Papadakis as both proprietor and Executive Editor.1 A new era beckoned for both the UK and AD: as the pendulum of political consensus swung to the right, the magazine that was responsible for introducing to the world the neo-avant-garde movements of the New Brutalism and Archigram was in the incunabulum of its Post-Modern turn. But the 1980s wasn’t just about Post-Modernism as a style: it also witnessed the growth of architectural culture as an industry. In his famous essay, Postmodernism, or, The Cultural Logic of Late Capitalism, written at the height of the Post-Modern2 period in the mid-1980s, Fredric Jameson suggested that 'It is in the realm of architecture […] that modifications in aesthetic production are most dramatically visible' – indeed he claimed that his conception of Post-Modernism derives from architectural debates.2 While Reinhold
    [Show full text]
  • THE NEW ARCHITECTURAL CLASSICISM in NORTHERN CYPRUS Marko KIESSEL, Devrim YÜCEL-BESİM, Asu TOZAN
    THEMETU NEW JFA ARCHITECTURAL2011/2 CLASSICISM IN NORTHERN CYPRUS DOI:METU 10.4305/METU.JFA.2011.2.8 JFA 2011/2 167 (28:2) 167-180 THE NEW ARCHITECTURAL CLASSICISM IN NORTHERN CYPRUS Marko KIESSEL, Devrim YÜCEL-BESİM, Asu TOZAN Received: 26.05.2011, Final Text: 12.11.2011 In the early 1990s, a Post-Modern architectural classicism emerged in Keywords: Post-Modernism; Northern Northern Cyprus, a trend which boomed strongly after 2003, the year of a Cyprus; architecture; New Classicism; consumerism. (failed) peace-plan of the United Nations for the divided island. This trend was influenced by developments in Turkey and arriving late, compared to the international Post-Modern movement. This study aims at a stylistic and semiotic analysis of the Postmoderne in Northern Cyprus. It is based on a comprehensive survey and demonstrates that four international Post-Modern categories, ranging from ‘Figurative-‘, ‘Abstract-‘ and ‘Post-Modern-‘ to ‘Ironic-‘ Classicism, are applicable to Northern Cyprus alike. The majority of local Post-Modern buildings, regardless of to which category they belong, displays a ‘non-contextual’ Western classicism instead of referring to the Turkish architectural heritage. The new classicism in Northern Cyprus covers residential, commercial and recreational architecture. ‘Figurative Classicism’, displaying a nearly canonical application of classical detailing, is employed in a few residential and recreational buildings. ‘Abstract Classicism’, displaying a strongly reduced classical detailing, and ‘Post-Modern Classicism’, the biggest category and displaying a highly eclectic, ‘freestyle’ detailing, have been observed in relation to residential, commercial and tourism/ recreational architecture. Apart from a few residential buildings ‘Ironic/ Kitsch Classicism’ is related first of all in relation to tourism/recreational architecture.
    [Show full text]
  • Caravaggio, Second Revised Edition
    CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio.
    [Show full text]
  • Classicist No-9
    THE CLASSICIST NO-9 THE CLASSICIST o Institute of Classical Architecture & Art n 9: 2010-2011 20 West 44th Street, Suite 310, New York, NY 10036-6603 - telephone (212) 730-9646 facsimile (212) 730-9649 [email protected] WWW.CLASSICIST.ORG the classicist at large 4 Canon and Invention: The Fortuna of Vitruvius’ Asiatic Ionic Base Editor e s s a y 7 Richard John Schinkel’s Entwürfe zu städtischen Wohngebäuden: Designer Living all’antica in the New Bourgeois City Tom Maciag Dyad Communications design office Jean-François Lejeune Philadelphia, Pennsylvania Managing Editor f r o m t h e o f f i c e s 28 Henrika Dyck Taylor Printer e s s a y 49 Crystal World Printing Manufactured in China Paul Cret and Louis Kahn: Beaux-Arts Planning at the Yale Center for British Art ©2011 Institute of Classical Architecture & Art Sam Roche All rights reserved ISBN 978-0-9642601-3-9 ISSN 1076-2922 from the academies 60 Education and the Practice of Architecture Front and Back Covers David Ligare, Ponte Vecchio/ Torre Nova, 1996, Oil on Canvas, 40 x 58 inches. Private Collection, San Francisco, CA. ©D. Ligare. Michael Lykoudis This painting was created for a solo exhibition at The Prince of Wales’s Institute of Architecture in London in 1996. David Ligare described his intentions in the following terms: “The old bridge has been painted countless times by artists who have Notre Dame/Georgia Tech/Miami/Judson/Yale/College of Charleston/The ICAA utilized every style and manner of painting imaginable. I was not interested in making yet another ‘new’ view of it.
    [Show full text]
  • Falling in Love with the City
    THE MUNICH ISSUE A MAGAZINE BY FREUNDEVONFREUNDEN.COM FOR 25HOURS HOTELS FEATURING FASHION & STYLE, FOOD & DRINK, ART & ENTERTAINMENT, ARCHITECTURE & DESIGN, HOSPITALITY & RETREAT, PEOPLE & BUSINESS FROM MUNICH & BEYOND #11 MUNICH FOR BEGINNERS The Other Nightlife Royal Bavarian Design The New Potatoes The alternative gastronomy and party scenes are booming in The Augsburg-based design studio Dreimeta tells stories in Bavarian potato salad is a German classic. The makers of Munich thanks to the initiative of restaurateur Sandra Forster. spaces — and in the new 25hours Hotel The Royal Bavarian, too. the Let’s Dine supper club have reinterpreted it for today. Feature, p.26 Interview, p.17 Cooking & Recipe, p.16 Column, p.30 Falling in Love with the City Barbara Vinken is Germany’s most elegant academic. For twelve years, the fashionable author and literary professor at the renowned Ludwig-Maximilian University has enriched the Bavarian capital with intellectual wit, eloquence, and engaging charm. In her new town of choice, Vinken appreciates above all the aesthetic excellence that Munich has to offer. What a pleas- BARONIAL SIGHTSEEING ure that she has shared some of her favorite cultural hotspots in the old town. For this issue of COMPANION, she offers insights It doesn’t always have to be the castles in the surrounding area into a city full of art and enjoyment, fashion and literature. — even in Munich’s center you can discover the royal heritage of Bavaria. You just need to know where. Luckily, we have Barbara Vinken ist wohl Deutschlands eleganteste Akademikerin. Burkhard von Freyberg on our side. The baron knows his way Seit zwölf Jahren bereichert die modische Autorin und Literaturpro- around and has curated a selection of his ten favorite royal fessorin an der renommierten Ludwig-Maximilians-Universität die places in the Bavarian capital.
    [Show full text]
  • AD Magazine and the Post-Modernisation of Architecture. ARQ: Architectural Research Quarterly 2018, 22(1)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Newcastle University E-Prints Parnell S. Architecture’s Expanding Field: AD Magazine and the Post-Modernisation of Architecture. ARQ: Architectural Research Quarterly 2018, 22(1) Copyright: This article has been accepted for publication by Cambridge University Press Link to Publisher website: https://www.cambridge.org/core/journals/arq-architectural-research-quarterly Date deposited: 24/05/2018 Newcastle University ePrints - eprint.ncl.ac.uk Architecture’s Expanding Field: AD Magazine and the Post-Modernisation of Architecture Stephen Parnell London, May 1979: Margaret Thatcher was voted Prime-Minister of the UK; and Haig Beck resigned as the Editor of AD (the magazine formerly known as Architectural Design), leaving Andreas Papadakis as both proprietor and Executive Editor.1 A new era beckoned for both the UK and AD: as the pendulum of political consensus swung to the right, the magazine that was responsible for introducing to the world the neo-avant-garde movements of the New Brutalism and Archigram was in the incunabulum of its Post-Modern turn. But the 1980s wasn’t just about Post-Modernism as a style: it also witnessed the growth of architectural culture as an industry. In his famous essay, Postmodernism, or, The Cultural Logic of Late Capitalism, written at the height of the Post-Modern2 period in the mid-1980s, Fredric Jameson suggested that 'It is in the realm of architecture […] that modifications in aesthetic production are most dramatically
    [Show full text]
  • IGV Group: a 50-Year Passion
    SEPTEMBER 2016 ELEVATOR WORLD Events IGV Group: A 50-Year Passion Italian manufacturer celebrates golden anniversary in style. submitted by IGV On June 25, IGV Group celebrated its 50th anniversary with a party at its headquarters in Vignate, Italy. More than 600 guests, from sector operators to representatives of authorities and employees, enjoyed entertainment that included cooking demonstrations, live music and corde lisse rope acrobatics on the side of the building. Eng. Giuseppe Volpe, who founded IGV in 1966, was joined by his son, Matteo, IGV general director; his daughter, Maria, journalist; and her two children, Lucia and Giuseppe. The story of the family goes on and keeps on spreading the IGV brand worldwide. The company is intimately connected to its founder, who, 50 years ago in a small office with three people, gave rise to the IGV adventure. Today, IGV is a leading company in the lift sector, with 200 employees and an ever-growing market. During his speech, Giuseppe Volpe drew attention to the need to never give up and keep on innovating. He thanked family, employees, customers and suppliers for taking part in the celebration and remarked how IGV has survived tough times, such as the 2009 financial crisis. Observing the life of a company is similar to that of a man, he reflected on milestones in IGV’s 50 years, such as the debut of its signature product, DomusLift. Giuseppe Volpe stated he has no intention of retiring and ended with: “I am sure you will never leave the IGV brand, because you know that this company is supported by passion, responsibility, heart and mind, innovation and tradition, care for details and technology, quality and flexibility, research and professionalism, and loyalty.
    [Show full text]