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Lauretta Vinciarelli Lauretta Vinciarelli Lauretta Lauretta Vinciarelli Exhibition Checklist Short Wall: Long Wall (left to right): 101 Spring Street March 30–July 20, 2019 I II Public hours: Lauretta Vinciarelli and Leonardo Fodera, [Drawings of the hangar and open and Thursdays, Fridays & Saturdays Puglia project, 1975–1977 enclosed court house], 1980 1:00–5:30pm Ink and colored pencil on mylar Colored pencil on vellum 17 1/4 × 22 3/4 inches (44 × 58 cm) 20 × 32 inches (50.8 × 81.3 cm) Lauretta Vinciarelli is made possible Lauretta Vinciarelli and Leonardo Fodera, [Drawings of the hangar and open and with support from Puglia project, 1975–1977 enclosed court house], 1980 Ronnie Heyman and Loren Pack Ink and colored pencil on mylar Colored pencil on vellum & Robert Beyer 17 1/4 × 42 1/2 inches (44 × 108 cm) 20 × 32 inches (50.8 × 81.3 cm) Lauretta Vinciarelli and Leonardo Fodera, [Drawings of the hangar and open and Puglia project, 1975–1977 enclosed court house], 1980 Ink and colored pencil on mylar Colored pencil on vellum 17 1/4 × 22 3/4 inches (44 × 58 cm) 20 × 32 inches (50.8 × 81.3 cm) Lauretta Vinciarelli and Leonardo Fodera, [Drawings of the hangar and open and Puglia project, 1975–1977 enclosed court house], 1980 Ink and colored pencil on mylar Colored pencil on vellum 17 1/4 × 22 3/4 inches (44 × 58 cm) 20 × 32 inches (50.8 × 81.3 cm) Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 III Ink and colored pencil on mylar 17 1/4 × 22 3/4 inches (44 × 58 cm) [Project for a Productive Garden in an Urban Center in South West Texas], c. 1979 Lauretta Vinciarelli and Leonardo Fodera, Colored pencil on tracing paper Puglia project, 1975–1977 1 of 3 drawings, each 23 1/4 × 41 1/2 inches Ink and colored pencil on mylar (59.1 × 105.4 cm) 17 1/4 × 17 1/4 inches (44 × 44 cm) [Project for a Productive Garden in an Lauretta Vinciarelli and Leonardo Fodera, Urban Center in South West Texas], c. 1979 Puglia project, 1975–1977 Colored pencil on tracing paper Ink and colored pencil on mylar 1 of 3 drawings, each 23 1/4 × 41 1/2 inches 17 1/4 × 17 1/4 inches (44 × 44 cm) (59.1 × 105.4 cm) Lauretta Vinciarelli and Leonardo Fodera, [Project for a Productive Garden in an Puglia project, 1975–1977 Urban Center in South West Texas], c. 1979 Ink and colored pencil on mylar Colored pencil on tracing paper 17 1/4 × 17 1/4 inches (44 × 44 cm) 1 of 3 drawings, each 23 1/4 × 41 1/2 inches (59.1 × 105.4 cm) Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Ink and colored pencil on mylar IV 17 3/8 × 17 3⁄16 inches (44.2 × 43.8 cm) [Water enclosure in landscape], 1986 Lauretta Vinciarelli and Leonardo Fodera, Watercolor on paper Puglia project, 1975–1977 22 1/2 × 29 7/8 inches (57.2 × 75.9 cm) Ink and colored pencil on mylar 17 1/4 × 17 1/4 inches (44 × 44 cm) [Water enclosure in landscape], 1986 Watercolor on paper Lauretta Vinciarelli and Leonardo Fodera, 22 1/2 × 29 7/8 inches (57.2 × 75.9 cm) Puglia project, 1975–1977 Ink and colored pencil on mylar [Water enclosure in landscape], 1986 17 1/4 × 17 1/4 inches (44 × 44 cm) Watercolor on paper 22 1/2 × 29 7/8 inches (57.2 × 75.9 cm) Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Ink and colored pencil on mylar 17 1/4 × 17 1/4 inches (44 × 44 cm) Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Ink and colored pencil on mylar 17 1/4 × 17 1/4 inches (44 × 44 cm) March 30 March Lauretta Vinciarelli (1943–2011) was born Developed in an atmosphere of Italian Vinciarelli’s works have been in Arbe, Italy and raised in Rome. She political protests beginning in the early collected by numerous museums includ- attended graduate school at the Università 1960s, fomented by the impact of the ing the National Gallery of Art, Wash- di Roma La Sapienza, earning her doctor- world-wide protests of 1968, Vinciarelli’s ington, D.C.; the San Francisco Museum ate in architecture and urban planning pedagogical practice encouraged the of Modern Art; the Museo nazionale in 1971. During her studies, Vinciarelli questioning of entrenched principles of delle arti del XXI secolo; the Carnegie encountered the typological and vernacu- modern architecture, rethinking these Museum of Art, Pittsburgh; and the Ar- lar approaches to housing and urban values through the study of building chive of the Biennale of Venice. Notably, design of Ludovico Quaroni and Mario typologies and their relationships to spe- Vinciarelli was the first woman to have Ridolfi, which provided a foundation for cific social and physical contexts. While at drawings acquired by the Department of some of the critiques of market capitalism Columbia, Vinciarelli introduced “the Architecture and Design at the Museum I a built roof, or perhaps a combination of II and materialism that permeated Italian type” and led courses on “carpet housing,” of Modern Art in New York in 1976. the two? The micro gardens, designed – architectural discourse in the late 1960s one of the four primary housing typolo- Recent exhibitions of Vinciarelli’s work Lauretta Vinciarelli and Leonardo Fodera as modules, could be combined and Lauretta Vinciarelli Puglia project, 1975–1977 interlocked to form a variety of spatial [Drawings of the hangar and open and 2019 July 20, and 1970s. gies taught there. Similar to the layout include Clear Light: The Architecture of Ink and colored pencil on mylar fabrics. Instead of conceiving of her work enclosed court house],1980 Vinciarelli moved to New York City of ancient Mediterranean villages, in Lauretta Vinciarelli (2012), a retrospective 13 drawings, various sizes as the creation of architectural objects, Colored pencil on vellum in 1969, where she became involved in which there was a balance between indi- exhibition held at the Bernard and Anne Vinciarelli worked to create spatial fabrics 4 drawings, each 20 × 32 in. (50.8 × 81.3 cm) Commissioned by the Puglia Regional that considered the space around the the Institute of Architecture and Urban vidual and community spaces, “carpet Spitzer School of Architecture at the Administration in Southern Italy, the buildings, which is often treated as left- Variations of the courtyard as a type are Studies (IAUS) in 1975, continuing her housing” often deploys private and shared City College of New York, and Light Un- unrealized Puglia project is a typological over space or a void, as integral to the featured throughout Vinciarelli’s practice. involvement until its closure in 1984. courtyards in low-rise, high-density veiled (2016) at Totah Gallery, New York. study of gardens. The first drawing out- architecture. Judd also echoed this senti- In these drawings, Vinciarelli explored lines the elements of the garden project: ment in his 1977 statement “Judd Founda- various configurations of hangars and Founded by Peter Eisenman, the IAUS apartment designs that resemble a textile Represented in this exhibition are fences, hedges, walls, floors, passages, tion,” in which he wrote: “The space courtyards, noting that these typologies served as a publishing house, think tank, or carpet when viewed from above. Vinciarelli’s drawings for gardens and structures, and roofs. Additionally, surrounding my work is crucial to it: could be combined to suit the existing exhibition space, and alternative school. In addition to her pedagogical legacy, structures in West Texas and Puglia, Vinciarelli and Fodera note that the garden as much thought has gone into the installa- materials and climate of Southwest Texas or park should be a place of shade with tion as into a piece itself.” Key elements and Northern Mexico. Judd’s re-purposing In 1978, Vinciarelli was the first and, Vinciarelli’s contributions to the field Italy, projects which illustrate her archi- water and plants, a place “of encounter, of the Puglia project include the pergola, of existing hangar structures was an im- ultimately, the only woman given a solo of architecture include her visionary tectural sensibility and interest in contemplation, play and rest.” The second the water feature, and the courtyard, portant facet of his architectural work show through the IAUS. She was a vital drawings, which were produced during typological thinking, which she shared drawing proposes additional elements for all elements that Judd integrated into his in Marfa, where he restored three hangars the garden: stairs, canals, water basins, home and studio in Marfa, La Manasana that he conceived of in relation to court- member of the ReVisions study group, a period of increased interest in “paper with Judd. children’s play equipment, and furniture. de Chinati/The Block in the 1970s and 80s. yard environments. formed in 1981 and continuing until architecture” and the presentation of The works included in this exhibition Throughout the remainder of the draw- The Puglia project was featured in 1986, with her IAUS colleagues Bernard architectural drawings in an art context. are from the collection of Judd Foundation. ings, Vinciarelli and Fodera posit various Architecture Design in June 1977; in Domus in combinations of these elements. For ex- July 1978; and in A & U in April 1981. Tschumi, Joan Ockman, and Mary Using a typological approach that centers Judd purchased a number of Vinciarelli’s ample, will the garden have tree cover or McLeod, among others. ReVisions hosted on shared fundamental building types drawings, including the Puglia Project, public programs that explored the rela- that persist over time, Vinciarelli devel- shortly after their realization.
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