The Context Debate
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CURRICULUM VITAE Teresa Hubbard 1St Contact Address
CURRICULUM VITAE Teresa Hubbard 1st Contact address William and Bettye Nowlin Endowed Professor Assistant Chair Studio Division University of Texas at Austin College of Fine Arts, Department of Art and Art History 2301 San Jacinto Blvd. Station D1300 Austin, TX 78712-1421 USA [email protected] 2nd Contact address 4707 Shoalwood Ave Austin, TX 78756 USA [email protected] www.hubbardbirchler.net mobile +512 925 2308 Contents 2 Education and Teaching 3–5 Selected Public Lectures and Visiting Artist Appointments 5–6 Selected Academic and Public Service 6–8 Selected Solo Exhibitions 8–14 Selected Group Exhibitions 14–20 Bibliography - Selected Exhibition Catalogues and Books 20–24 Bibliography - Selected Articles 24–28 Selected Awards, Commissions and Fellowships 28 Gallery Representation 28–29 Selected Public Collections Teresa Hubbard, Curriculum Vitae - 1 / 29 Teresa Hubbard American, Irish and Swiss Citizen, born 1965 in Dublin, Ireland Education 1990–1992 M.F.A., Nova Scotia College of Art and Design, Halifax, Canada 1988 Yale University School of Art, MFA Program, New Haven, Connecticut, USA 1987 Skowhegan School of Painting and Sculpture, Skowhegan, Maine, USA 1985–1988 University of Texas at Austin, BFA Degree, Austin, Texas, USA 1983–1985 Louisiana State University, Liberal Arts, Baton Rouge, USA Teaching 2015–present Faculty Member, European Graduate School, (EGS), Saas-Fee, Switzerland 2014–present William and Bettye Nowlin Endowed Professor, Department of Art and Art History, College of Fine Arts, University of Texas -
The Architecture of Deconstruction: Derrida's Haunt
The Architecture o f Deconstruction: Derrida’s Haunt Mark Wigley The MIT Press Cambridge, Massachusetts London, England Fifth printing, 1997 First M IT Press paperback edition, 1995 © 1993 M IT Press Ml rights reserved. No part o f this book may be reproduced in any form by any elec tronic or mechanical means (including photocopying, recording, or information stor age and retrieval) without permission in writing from the publisher. This book was printed and bound in the United States o f America. Library of Congress Cataloging-in-Publication Data Wigley, Mark. The architecture of deconstruction : Derrida’s haunt / Mark Wigley. p. cm. Includes bibliographical references and index. ISBN 0-262-23170-0 (H B ), 0-262-73114-2 (PB) 1. Deconstruction (Architecture) 2. Derrida, Jacques—Philosophy. I. T itle . NA682.D43W54 1993 720'. 1—dc20 93-10352 CIP For Beatriz and Andrea Any house is a fa r too com plicated, clumsy, fussy, mechanical counter feit of the human body . The whole interior is a kind of stomach that attempts to digest objects . The whole life o f the average house, it seems, is a sort of indigestion. A body in ill repair, suffering indispo sition—constant tinkering and doctoring to keep it alive. It is a marvel, we its infesters, do not go insane in it and with it. Perhaps it is a form of insanity we have to put in it. Lucky we are able to get something else out of it, thought we do seldom get out of it alive ourselves. —Frank Lloyd Wright ‘The Cardboard House,” 1931. -
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 -
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 -
Flow, Process, Fold: Intersections in Bioinformatics and Contemporary Architecture
FLOW, PROCESS, FOLD: INTERSECTIONS IN BIOINFORMATICS AND CONTEMPORARY ARCHITECTURE Timothy Lenoir and Casey Alt History of Science Program Stanford University This paper traces shared terms –– metaphors –– in two registers of discourse, bioinformatics and architecture, with the goal of teasing out the mutually informing contexts of each. We are becoming immersed in a growing repertoire of computer-based media for creating, distributing, and interacting with digitized versions of the world. Computer-mediated communication has already been significant in biology and medicine. In this essay we want to juxtapose several developments –– not all of them integrally connected –– in fields of computational biology, bioinformatics, robotics, and computer-aided design, which are significant for other areas in which computers have begun to mediate processes of work and creativity. We are particularly concerned with architects' engagement with information technology in their own work. Oft-noted features of the growth of computer-mediated forms of work and communication –– particularly evident in the biomedical areas with which we are concerned – are the acceleration of nearly every aspect of design and production, along with the high degree of both modularity and adaptability of processes. IT workers have responded to the explosion of data created by digital technology by generating dynamic systems for facilitating the information flow, replacing static forms with fluid architectures for extracting meaning. We want to suggest ways in which some architects are using information technology to address critical contemporary issues of philosophical, ethical, and social concern. Many have found philosophical resonance in the writings of Deleuze and Guattari, particularly in their effort to displace key modernist notions of difference as other, lack, or negative, with difference as a positive source. -
Modern Architecture and Luxury: Aesthetics and the Evolution of the Modern Subject
arts Book Review Modern Architecture and Luxury: Aesthetics and the Evolution of the Modern Subject Joanna Merwood-Salisbury School of Architecture, Victoria University of Wellington, Wellington 6140, New Zealand; [email protected] Received: 30 July 2019; Accepted: 31 July 2019; Published: 6 August 2019 Abstract: A book review of Robin Schuldenfrei, Luxury and Modernism: Architecture and the Object in Germany 1900–1933 (Princeton: Princeton University Press, 2018). This book challenges the canonical interpretation of two of the most revered institutions in the history of modern architecture—the Werkbund and the Bauhaus—and presents a critical interpretation of the relationship between modern architecture and luxury, which first appeared a generation ago. Keywords: architecture; design; luxury; AEG; Werkbund; Bauhaus; Germany; modernism Luxury and Modernism: Architecture and the Object in Germany 1900–1933 challenges the canonical interpretation of two of the most revered institutions in the history of modern architecture—the Werkbund and the Bauhaus—and presents a critical interpretation of the relationship between modern architecture and luxury, which first appeared a generation ago. In the founding documents of the modern movement, architecture and luxury were framed as irreconcilable opposites. To be modern was to reject ornament—the traditional aesthetic signifier of social status (Veblen [1899] 1994; Sombart [1913] 1967; Massey 2004). Cheapened by thoughtless application, ornament was seen as wasteful and excessive—a superfluous excrescence to be sloughed off through purifying processes of subtraction and elimination. Framed in terms of social evolution, to take pleasure in ornament was evidence of a primitive or retarded stage of racial development (Loos [1908] 1970; Muthesius [1903] 1994). -
Peircean Interpretation of Postmodern Architecture
PEIRCEAN INTERPRETATION OF POSTMODERN ARCHITECTURE A Dissertation by IWAO TAKAHASHI Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Robert Warden Committee Members, Frances E. Downing Robert W. Burch Gregory F. Pappas Head of Department, Ward V. Wells December 2013 Major Subject: Architecture Copyright 2013 Iwao Takahashi ABSTRACT The influence of philosophy on architectural theory contributes to the formulation of architectural theory in the history of architecture. This relationship created the oscillation of architectural theory between rationalism and romanticism reflecting the woven tendency of philosophy such as enlightenment and counter-enlightenment movement. This dissertation research focuses on architectural language theory which maintains a tight relationship with the philosophy of language. Postmodern architecture during the period of the 1970s through 1980s is examined to determine meanings of architecture, and the language theory of architecture. It followed the philosophy of language originated from Ferdinand de Saussure who influenced theorists, and explicitly sign theorists influenced by Charles Sanders Peirce. This theoretical underpinning of language theory is questionable because of an inappropriate application of the sign theory of Charles Sanders Peirce in terms of principal interpretation of language structure, dyadic and triadic type of language. This research re-interprets the meaning of architecture during postmodern period along with Peirce’s semeiotic theory, and American Pragmatism that Peirce originally invented. The collection of evidence from architectural history and the influence from philosophy provides a conceptual sketch that the oscillation of theoretical tendency is the source of architectural creation. -
Itin 47 Deconstruction in New Zealand
ITINERARY n.47 NOT ON MAP This year marks 25 years since 2 7 8 13 Deconstructive Architecture was inagurated with a controversial exhbition at MoMA. This itinerary looks at local contributions to this global phenomenon. 1 3 6 9 10 12 14 4 5 11 Venice Biennale Installation Venice Deconstruction in New Zealand Deconography The fuss kicked off with events The late 1980s was a turbulent time for New Zealand architecture. In the decade’s prosperous early years, Kiwi held in 1988 on either side of the practitioners embraced the up-beat forms of post-modernism that swept ashore from various northern points of Atlantic – a symposium at The origin. In the less giddy times following the ‘87 stock market crash, many local architects were receptive to the Tate Gallery in London, and the more skeptical stance and aggressive aesthetics linked to deconstruction. exhibition at New York’s MoMA. Local architects had a particular interest in this new trans-Atlantic deconstruction phenomenon. Auckland enfant The MoMA show’s controversial terrible Mark Wigley, who had achieved local notoriety through television shows on Kiwi architecture, popped list of exhibitors included Frank up at the center of the action in New York. He worked alongside Philip Johnson to put together the canon- Gehry, Daniel Libeskind, Rem defining 1988 Deconstructivist Architecture show at the Museum of Modern Art. Reports on Wigley’s involvement Koolhaas, Peter Eisenman, Zaha appeared in Architecture NZ at various stages, swiftly followed by reviews of both the show and the associated Hadid, Coop Himmelblau and catalogue. In the years that followed, an ideological battle raged in international architecture circles between Bernard Tschumi. -
Rethinking the Role of Context and Contextualism in Architecture and Design
Rethinking The Role of Context and Contextualism in Architecture and Design Gültekin Çizgen Submitted to the Institute of Graduate Studies and Research in partial fulfillment of the requirements for the Degree of Master of Science in Architecture Eastern Mediterranean University September 2012 Gazimağusa, North Cyprus i Approval of the Institute of Graduate Studies and Research Prof. Dr. Elvan Yılmaz Director I certify that this thesis satisfies the requirements as a thesis for the degree of Master of Science in Architecture Assoc. Prof. Dr. Özgür Dinçyürek Chair, Department of Architecture We certify that we have read this thesis and that in our opinion it is fully adequate in scope and quality as thesis for the degree of Master of Science in Architecture. Assoc. Prof. Dr.Türkan Uraz Supervisor Examining Committee 1. Assoc. Prof. Dr. Hıfsiye Pulhan 2. Assoc. Prof. Dr. Özgür Dinçyürek 3. Assoc. Prof. Dr. Türkan Uraz ii ABSTRACT It is obvious that many popular products and understandings of contemporary architecture have left contextual design behind. Context is simply sacrificed to build an artificial identity and brand. Both on urban scale and on building scale insensitivity towards context in design have not been able to produce quite positive results. With this concern, this study is discussing contextuality in architecture within the framework of product, design and designer (architect). In this sense, necessity of how contemporary design‟s context should be dealt within the framework of ethical responsibility, in addition to the artistic aspects of the profession is emphasized and contextual design is reviewed. The subject has addressed some contextual design approaches of the period from 20th century to the present with criticism. -
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Architecture and Engineering, 1850-1980 Theme: Postmodernism, 1965-1991
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Architecture and Engineering, 1850-1980 Theme: Postmodernism, 1965-1991 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources July 2018 SurveyLA Citywide Historic Context Statement Architecture and Engineering/Postmodernism, 1965-1991 TABLE OF CONTENTS PREFACE ............................................................................................................. 1 CONTRIBUTOR .................................................................................................... 1 INTRODUCTION .................................................................................................. 1 HISTORIC CONTEXT ............................................................................................. 2 Postmodern Precursors ........................................................................................ 2 Writings that Influenced Architectural Postmodernism ........................................ 7 Robert Venturi’s Early Buildings ........................................................................... 8 The Term “Postmodernism” ................................................................................. 9 Los Angeles Post-1965: Context in a Changing Design Culture ............................ 11 Charles Moore and the Influence of Sea Ranch ................................................... 13 Charles Moore in Pre-1980 Los Angeles .......................................................... 14 Sea Ranch and the Los Angeles -
The Essentiality of Contextual Architecture C X E O
C O The essentiality of contextual architecture Isabel Gómez Alvarez X N E T Proof of approval Aims & objectives Context as a tool forConcept 04 14 Development39 SBA’s design philosophy Acknowledgement05 Project19 Motif 42 07Title 20Methodology The relevance48 of Site-Analysis Definition of Context in Archi- Abstract Study and research of Hanegi 08 23tecture 53Park House The importance of Context in Site Analysis of HanegiPark Problem statement 13 35Architecture 70House Site Analysis of Cholula, Context as the key for Project Site plan 72Puebla Development99 111 Experimenting76 with the List102 of References Floor112 plan level 1 original blueprint in the new site Interpreting the intangible List of figures Floor plan level 0 78values 105 113 Functionality of the project Letter of recommendation, Floor plan level -1 in83 the new site Shigeru109 Ban Architects 114 Feasibility95 of the project 110CV 115Elevation Proof of Approval Thesis that the student Isabel Gómez Alvarez, 152964, presents to complete the requirements of the Honors Program. Director Eduardo Gutiérrez Juárez President Nicolás Esteban López Tamayo Secretary Melissa Schumacher Gonzá lez 4 Acknowledgement Writing a thesis is a personal task, but aside from one’s own efforts, the achievement and success of any project depends on the encouragement and guidance of many other people. I take this op- portunity to express my most sincere gratitude to the people who have been instrumental in the rewarding completion of my thesis. First, I would like to thank my thesis mentor Eduardo Gutiérrez Juárez; his office door was always open for me whenever I ran into any question about my research. -
Architecture of the Margins: the Topological Space of Ornamental Monsters and Prosthetic Skins
The topological space of ornamental monsters and prosthetic skins ! ! ! ! !"#$%&'#&("')*+)&$'),-".%/01) )*%!+(,(-(&'./-!0,/.%!(1!(2#/3%#+/-!3(#0+%20!/#4!,2(0+*%+'.!0$'#0! ! ! ! "#$%!"&&'(! ! ! ! ! ! ! ! ! ! ! ! iii ! ! ! ! A Thesis submitted in fulfillment of the requirements for the degree of ! Doctor of Philosophy ! University of Canberra ! July 2018 ! ! ! ! ! ! ! ! ! ! ! ! v Abstract ‘Monsters’ and ‘prostheses’ emerge graphically and metaphorically from the margins and gaps in discourse. This is significant, for ancient charts and texts harnessed graphic forms to make meaningful comment on related content. The placement of these borderline figures signaled difference but also, and more profoundly, marked out sites of transformation. Although monstrous and prosthetic figures have touched, intersected, and even become synonymous with one another over the course of history, for the most part they have remained split and embedded within contested disciplines. Nevertheless, the prosthetic trope, like the monstrous metaphor, stands for a problematic hybrid interface that has been heavily exploited within diverse disciplines, often reductively. Still, as with its monstrous counterpart, there remains a sense in which the prosthetic figure is also constitutive. This thesis draws on the ancient figure of the monster and its sensual inscription of the communicative space of architecture in order to re-frame the contemporary figure of the prosthesis. The aim is to open the space of architecture to the possibility of a shared reading that holds relevance for a plural and fragmented world. The process of re-reading and re-framing monsters and prostheses aligns with the way meaning and knowing is enacted by the figures themselves, as they disclose new understanding through shifts in perceptual orientation.