Steven Hillyer Resume 09 13 18 GF
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An Introduction to Architectural Theory Is the First Critical History of a Ma Architectural Thought Over the Last Forty Years
a ND M a LLGR G OOD An Introduction to Architectural Theory is the first critical history of a ma architectural thought over the last forty years. Beginning with the VE cataclysmic social and political events of 1968, the authors survey N the criticisms of high modernism and its abiding evolution, the AN INTRODUCT rise of postmodern and poststructural theory, traditionalism, New Urbanism, critical regionalism, deconstruction, parametric design, minimalism, phenomenology, sustainability, and the implications of AN INTRODUCTiON TO new technologies for design. With a sharp and lively text, Mallgrave and Goodman explore issues in depth but not to the extent that they become inaccessible to beginning students. ARCHITECTURaL THEORY i HaRRY FRaNCiS MaLLGRaVE is a professor of architecture at Illinois Institute of ON TO 1968 TO THE PRESENT Technology, and has enjoyed a distinguished career as an award-winning scholar, translator, and editor. His most recent publications include Modern Architectural HaRRY FRaNCiS MaLLGRaVE aND DaViD GOODmaN Theory: A Historical Survey, 1673–1968 (2005), the two volumes of Architectural ARCHITECTUR Theory: An Anthology from Vitruvius to 2005 (Wiley-Blackwell, 2005–8, volume 2 with co-editor Christina Contandriopoulos), and The Architect’s Brain: Neuroscience, Creativity, and Architecture (Wiley-Blackwell, 2010). DaViD GOODmaN is Studio Associate Professor of Architecture at Illinois Institute of Technology and is co-principal of R+D Studio. He has also taught architecture at Harvard University’s Graduate School of Design and at Boston Architectural College. His work has appeared in the journal Log, in the anthology Chicago Architecture: Histories, Revisions, Alternatives, and in the Northwestern University Press publication Walter Netsch: A Critical Appreciation and Sourcebook. -
Dott. Arch. GUIDO ZULIANI
Dott. Arch. GUIDO ZULIANI CURRICULUM VITAE Dott. Arch. GUIDO ZULIANI AZstudio (Owner - Principal) 235 west 108th street #52 New York City, N.Y. 10025 - USA Tel. (1) 347-570 3489 [email protected] via Gemona 78 33100 Udine - Italy Tel. (39) 329-548 9158 Tel./ Fax +39- 0432-506 254 EDUCATION AND PROFESSIONAL QUALIFICATIONS 1998 ACCADEMIA DELLE SCIENZE, LETTERE ED ARTI “GLI SVENTATI” - Udine, Italy Elected Member 1982 ORDINE DEGLI ARCHITETTI DELLA PROVINCIA DI UDINE Register architect 1980 ISTITUTO UNIVERSITARIO D'ARCHITETTURA DI VENEZIA (IUAV) today UNIVERSITÀ IUAV DI VENEZIA Dottore in Architettura (Master equivalent) - Summa cum Laude ACADEMIC EXPERIENCE 1985 - Present THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART IRWIN S. CHANIN SCHOOL OF ARCHITECTURE New York, NY 2009 - Present Professor of Architectural History 2005 - Present Professor of Architecture / Professor of Modern Architectural Concept Responsible for teaching Architectural Design II, Architectural Design IV, Thesis classes, the seminars in Modern Architectural Concepts, Analysis of Architectural Texts, Advanced Topics in Architecture 1991 - 2005 Associate Professor of Architecture 1986 - 1991 Visiting Professor of Architecture 2001 - Present Member of the Curriculum Committee Responsible for review and recommendations regarding the structure and the content of the school curriculum, currently designing the curriculum of the future post-professional Master Degree in Architecture of the Cooper Union. 2008 - Present SCHOOL OF DOCTORATE STUDIES - UNIVERSITÀ IUAV -
Neri Oxman Material Ecology
ANTONELLI THE NERI OXMAN CALLS HER DESIGN APPROACH MATERIAL ECOLOGY— A PROCESS THAT DRAWS ON THE STRUCTURAL, SYSTEMIC, AND AESTHETIC WISDOM OF NATURE, DISTILLED AND DEPLOYED THROUGH COMPUTATION AND DIGITAL FABRICATION. THROUGHOUT HER TWENTY- ECOLOGY MATERIAL NERI OXMAN NERI OXMAN YEAR CAREER, SHE HAS BEEN A PIONEER OF NEW MATERIALS AND CONSTRUCTION PROCESSES, AND A CATALYST FOR DYNAMIC INTERDISCIPLINARY COLLABORATIONS. WITH THE MEDIATED MATTER MATERIAL GROUP, HER RESEARCH TEAM AT THE MIT MEDIA LAB, OXMAN HAS PURSUED RIGOROUS AND DARING EXPERIMENTATION THAT IS GROUNDED IN SCIENCE, PROPELLED BY VISIONARY THINKING, AND DISTINGUISHED BY FORMAL ELEGANCE. ECOLOGY PUBLISHED TO ACCOMPANY A MONOGRAPHIC EXHIBITION OF OXMAN’S WORK AT THE MUSEUM OF MODERN ART, NEW YORK, NERI OXMAN: MATERIAL ECOLOGY FEATURES ESSAYS BY PAOLA ANTONELLI AND CATALOGUE HADAS A. STEINER. ITS DESIGN, BY IRMA BOOM, PAYS HOMAGE TO STEWART BRAND’S LEGENDARY WHOLE EARTH CATALOG, WHICH CELEBRATED AND PROVIDED RESOURCES FOR A NEW ERA OF AWARENESS IN THE LATE 1960S. THIS VOLUME, IN TURN, HERALDS A NEW ERA OF ECOLOGICAL AWARENESS—ONE IN WHICH THE GENIUS OF NATURE CAN BE HARNESSED, AS OXMAN IS DOING, TO CREATE TOOLS FOR A BETTER FUTURE. Moma Neri Oxman Cover.indd 1-3 9.01.2020 14:24 THE NERI OXMAN MATERIAL ECOLOGY CATALOGUE PAOLA ANTONELLI WITH ANNA BURCKHARDT THE MUSEUM OF MODERN ART, NEW YORK × Silk Pavilion I Imaginary Beings: Doppelgänger Published in conjunction with the exhibition Published by Neri Oxman: Material Ecology, at The Museum of The Museum of Modern Art, New York Modern Art, New York, February 22–May 25, 2020. 11 West 53 Street CONTENTS Organized by Paola Antonelli, Senior Curator, New York, New York 10019 Department of Architecture and Design, www.moma.org and Director, Research and Development; and Anna Burckhardt, Curatorial Assistant, © 2020 The Museum of Modern Art, New York 9 FOREWORD Department of Architecture and Design Certain illustrations are covered by claims to copyright cited on page 177. -
John Hejduk's Pursuit of an Architectural Ethos
113 John Hejduk’s Pursuit of an Architectural Ethos Martin Søberg Within the past decade the visual arts have in particular indicates a certain depth within such witnessed an increase in the production of artis- projects, a desire for transgressing questions of tic research. This is a type of practice-driven formalism and mere aesthetics while coming to research that, based on creative investigation and terms with fundamental principles and purposes of the production of artistic work combined with proc- architecture. These objectives may be described esses of reflection and documentation, arguably as a pursuit of an architectural ethos that investi- results in the creation of new insights, recognitions, gates what is architecturally proper and meaningful if not to say genuine knowledge.1 Generally speak- in a contemporary context, including architecture’s ing, artistic research differs methodologically from symbolic potentials – and as such addresses traditional scientific research as it relies primarily normative questions.2 My hypothesis is that on the imagination and aesthetic impetus of the such questions concerning the media, language, artist rather than on concepts, logical thinking and programmes, semantics, and ethos of architecture transparent argumentation. In architecture this would also be relevant to a field of artistic architec- tendency has been less prominent. While much has tural research today and that knowing more about been done to conceptualize, map and theorize the previous projects that explored these questions, targets, history and assessment of artistic research obvious differences apart, could help us to conduct in visual arts, similar work is still somehow absent artistic architectural research in a more focused when it comes to architecture. -
Raimund Abraham: Rund Um Den Nullpunkt
Falter, Wien. Nr. 13 / 1986 Raimund Abraham: Rund um den Nullpunkt Ein Falter-Gespräch mit Raimund Abraham (New York - Wien), anfang der sechziger Jahre mit Hans Hollein und Walter Pichler Mitbegründer des ‚Austrian Phenomen’ einer neuen experimentellen Architektur und heute einer der führenden theoretischen Köpfe der Avantgarde für eine Architektur nach der Postmoderne. Der Anlaß: Seine Ausstellung ‚Stadtfragmente' im Otto Wagner-Archiv in Wien. Seine Gesprächspartner: Dietmar Steiner und Christian Reder, beide tätig an der Hochschule für angewandte Kunst in Wien. +++ Steiner: Was uns ‚Hinterbliebene' immer interessiert: Warum weg aus Wien, warum solange New York, warum nicht zurück. warum nicht woanders hin? Abraham: Das ist einfach zu beantworten. Ich fühlte mich plötzlich eingeengt, es gab da so einen Stillstand. Mein Studienkollege und zeitweiliger Arbeitspartner Friedrich St. Florian, der schon an der Rhode Island School of Design tätig war, hat mich dann, 1964, für eine kleine Ausstellung und ein Seminar eingeladen und dort hat man mir eben eine Professur angeboten und so bin ich geblieben. Zuerst war ich ein paar Monate in New York, dort habe ich Frederick Kiesler kennengelernt und er hat mir sein Atelier zur Verfügung gestellt, weil er krank war, und so habe ich zum ersten Mal diese Stadt erfahren. Das war wie eine Erlösung. Und in den zwanzig Jahren seither habe ich gelernt, wie der Abstand zur eigenen Kultur Sensibilitäten hervorruft, z.B. in Bezug auf die Muttersprache, die man ohne ihn nicht findet. Inzwischen hat sich New York wie jede andere internationale Stadt auch dem Innentourismus geopfert . Die Leute verlieren ihr Gesicht, die Stadt wird anonym. -
Radical Austria Everything Is Architecture English
RADICAL RADICAL AUSTRIA EVERYTHING IS ARCHITECTURE ENGLISH AUSTRIA RADICAL AUSTRIA EVERYTHING IS ARCHITECTURE ENGLISH RADICAL AUSTRIA RADICAL AUSTRIA From the adage ‘Everything is architecture’ formulated EVERYTHING IS ARCHITECTURE by Hans Hollein, he and his Austrian contemporaries The experimental work by Austrian architecture collec- shape their vision of the world in all possible domains: tives and designers from the early 1960s to mid-1970s from inflatable shelters to performances, from fashion has been described as ‘the Austrian avant-garde’. to furniture and from television programs to cities of the This exhibition is dedicated to the mind-expan ding, future. Early on they start experimenting with cyber ne- boun dary-shifting and socially critical work of these tics, space travel, drugs, media and gender. Finding designers. Not accepting limitations of definitions inspiration in pop culture, they often organise them- and disciplines, they created buildings, environ ments, selves as improvising collectives, like the example set objects, fashion, performances, furniture and even by psychedelic rock groups. experiences. The combination of experiment and analysis makes the Works by groups such as Coop Himmelb(l)au, Austrian avant-garde one of the most radical move- Haus-Rucker-Co, Zünd-Up and independent designers ments of that time. Their topics are still relevant today: and artists such as Walter Pichler, Hans Hollein and addressing the relationship between man and machine, VALIE EXPORT are a reaction to social and techno lo- communication versus isolation and the desire to create gical developments at large as well as to the specific personal bubbles. The visions these activist designers Austrian context. -
School of Architecture 2010–2011
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Architecture 2010–2011 School of Architecture 2010–2011 BULLETIN OF YALE UNIVERSITY Series 106 Number 4 June 30, 2010 BULLETIN OF YALE UNIVERSITY Series 106 Number 4 June 30, 2010 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a special disabled veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation Managing Editor: Linda Koch Lorimer or gender identity or expression. Editor: Lesley K. Baier University policy is committed to a∞rmative action under law in employment of PO Box 208230, New Haven CT 06520-8230 women, minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. -
Radical Austria Press Release Website 20210119
Radical Austria: Everything is Architecture In Radical Austria – Everything is Architecture, you will discover the mind-expanding, boundary-shifting and socially critical work of the Austrian avant-garde in the 1960s and 70s. Members of this group did not allow themselves to be hemmed in by traditional design disciplines, preferring instead to create buildings, environments, objects, fashion, performances, furniture and even experiences. Radical Austria – Everything is Architecture focuses on recent history with works that are even more topical and relevant today. The exhibition offers the first opportunity ever to experience the specific character of Austria’s contribution to the international post-war avant-garde in this way. It includes work by Coop Himmelblau, Haus-Rucker-Co, Zünd-Up, Walter Pichler, Valie Export, Hans Hollein, Angela Hareiter and Raimund Abraham. Cover of the magazine ‘Bau’ 4/1968. Model with ‘Austrian Glasses’. Austriennale - Austria at the 14th Triennale di Milano, 1968. Copyright: Private archive Hollein ‘Everything is architecture’ The worKs, performances, installations, interventions, clothes, furniture, environments and architecture of groups liKe Coop Himmelblau, Haus-RucKer-Co and Zünd-Up, and of individual designers and artists such as Walter Pichler (1936-2012), Hans Hollein (1934- 2014), Raimund Abraham (1933-2010) and Valie Export (1940), are responses to societal and technological developments. Whether optimistically and playfully or ominously and critically, they teased out the consequences of these developments for the future – the one in which we now live. What makes the Austrian avant-garde unique is its fascination for the body and the way its designs often extended beyond the drawing board: almost everything was actually executed and can be seen in the exhibition. -
John Hejduk, Wall House 2, Any Art Or Architecture School
5_Janney_essay_06-07-089E.qxp 12/10/06 1:17 pm Page 162 5_Janney_essay_06-07-089E.qxp 10/6/06 8:40 PM Page 163 “The Architect is responsible to create the spirit of a Problem #2: Create a musical instrument that is part thought. And to translate it through whatever medium of an existing or invented ritual. is available, whether it be in a text, in a drawing, in a Ritchie Israel, The Breath. model, in a building, in a photograph, or in a film. The Yevgeniy Verbitskiy, Indirect Communication. Architect concerns himself/herself with the mysteries of space and form, and is also obligated to invent new programs. It is essential that the Architect creates works John Hejduk, Wall House 2, any art or architecture school. Soon after, in walked Jay Iselin, the president of that are thought-provoking and ultimately life-provoking. Groningen, the Netherlands. The Cooper Union. John introduced us, and Jay turned to me saying, “It’s a great Or more precisely, life-giving to what appears to be at Designed 1973, built 2001. pleasure to have you teaching at our school. Welcome aboard.” Short of a few first inanimate materials. The Architect enters into a social contract in the deepest sense. To search for qualities and experiences of being dumped by girlfriends whom I was sure loved me, I was never human values which give spirit.” so caught off guard. I tried to play it cool, thinking this was not what it appeared to be; this was some strange academic protocol that I had yet to learn. -
The Irwin S. Chanin School of Architecture the Cooper Union for the Advancement of Science And
ARCHITECTURE The Irwin S. Chanin AT COOPER School of Architecture The Cooper Union for the Advancement of Science and Art 4:09 -10 The academic year 2009 –20010 was a particularly significant The three exhibitions collectively served as an opportunity We were brought more forcefully to reflect on this tradition, year for The Cooper Union, and equally so for the School for the School of Architecture to reflect on its history and to by the passing this year of two of its major inventors, of Architecture. As the 150th year since the founding of the clarify and articulate a curriculum for the education of Professors Richard Henderson and Raimund Abraham. institution, it was also the 149th year of teaching architecture architects into the twenty first century. In their preparation Richard, who taught at the school for over thirty years, was at Cooper. A timeline included in last year’s edition of we were able to reflect on the extraordinary intersection not only a wise and strong administrator but, more importantly , was further developed and illustrated of tradition, renewal, and innovation represented in the work Architecture At Cooper an innovator in the realm of architectural analysis and one as the prologue for the first of three major exhibitions of the school since its foundation. who placed the analytical process at the center of Cooper’s mounted by the school in the Houghton Gallery, “Architecture From the Nine Square Problem, through Cubes, Topos, approach to design. At a time when the “postmodernists” at Cooper 1859 –2009.” The exhibition chronicled the history Blocks, Bridges, Connections, Communities, Balances, were calling for a return to history in the iconographic and of architecture—and specifically of the architecture of its Walls, Houses, Joints, Skins, to Spheres, Cylinders, Pyramids imitative sense, Richard insisted that analysis was a didactic, buildings—at Cooper from 1859 to the present. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Code Manipulation: Architecture In-Between Universal and Specific Urban Space Permalink https://escholarship.org/uc/item/7660x051 Author Dahl, Per-Johan Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Code Manipulation: Architecture In-Between Universal and Specific Urban Space A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Per-Johan Dahl 2012 © Copyright by Per-Johan Dahl 2012 ABSTRACT OF THE DISSERTATION Code Manipulation: Architecture In-Between Universal and Specific Urban Space By Per-Johan Dahl Doctor of Philosophy in Architecture University of California, Los Angeles, 2012 Professor Dana Cuff, Chair Experiences from both academia and practice demonstrate that the legal instruments that comprise the primary tool for carrying out city planning in the U.S. have grown increasingly complex and abstract. Processing the universal rather than the specific aspects of urbanism, these zoning codes have a limited capacity to adapt to local significance and site-specific characteristics, to which architecture is much more responsive, and thus often constrain design innovation. Although various attempts have been made to improve the interconnection between the universal and the specific, we need a wider array of analytic frameworks within the discipline of architecture for evaluating the broader implications of the codes that regulate the form and use of buildings within the context of contemporary city planning. Taking architecture as an intermediary instrument, this study develops the notion of code manipulation as an analytical framework to be used for stimulating and evaluating designs beyond the constraints of code. -
Architecture in the Postmodern Era Summer Semester 2017 (Friday 1-2:30Pm) Lawrence Hall (Room 104) Instructor: Matthew Schlueb
The Osher Lifelong Learning Institute University of Pittsburgh, College of General Studies Architecture in the PostModern Era Summer Semester 2017 (Friday 1-2:30pm) Lawrence Hall (Room 104) Instructor: Matthew Schlueb Lecture 2 (2017.07.07): An introduction to the work of Peter Eisenman and his influence on post modern architecture Leitmotifs: Cardboard Architecture: smooth surfaces with flush detailing, insubstantiality of structure, unloading architecture of all function and semantic associations, using columns, walls, beams as modeled in cardboard with thin planar surfaces and layers. Topology: geometric and structure of architectural form, as opposed to the relationship of form to function or form to meaning, rather a set of formal relationships that is the result of the inherent logic of the forms themselves. Deconstruction: anti-form, anti-hierarchy, anti-structure, an architecture that is no longer closed, identifiable, specific field, one cannot extract a technique, method or system of architectural rules from deconstruction. In-Between: negative space resulting from positive form, positive space resulting from negative form, external form driven by the contextual site, with building infilling the in-between space defined by physical and metaphysical structures adjacent. Heterogenous Space: a non-supporting column serves some other function, as signifier dependent on context, articulated as such a column or series of columns divide and differentiate space, no longer homogenous. Partis pris: Redundancy: overlay and interaction of two simultaneous systems, intended to exemplify the logic inherent in a redundant second formal structure, no longer functional in relation to the first, rather providing a potential area of new meaning. Autonomous object: generated by a design process, a set of rules resulting in the literary reading of self-organizing architectural form and space, with a syntax inherent within the geometry of the object, not created by the reader.