DOCSLIB.ORG

Introduction to Modern Literature David Spurr, Fall 2020 11 Nov

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Introduction to Modern Literature David Spurr, Fall 2020 11 Nov. Architectural form and representation: Some principles American beginnings of modernism: The Chicago School Louis Sullivan, “The Tall Office Building Artistically Considered,” 1896 https://ocw.mit.edu/courses/architecture/4-205-analysis-of-contemporary- architecture-fall-2009/readings/MIT4_205F09_Sullivan.pdf 18 Nov. Organic architecture: Frank Lloyd Wright Wright, “In the Cause of Architecture,” 1908 https://www.architecturalrecord.com/ext/resources/news/2016/01- Jan/InTheCause/Frank-Lloyd-Wright-In-the-Cause-of-Architecture-March- 1908.pdf “Frank Lloyd Wright: American Architect,” Museum of Modern Art, 1940: https://www.moma.org/calendar/exhibitions/2992 Architectural Forum, special issue on Wright, January 1938: https://usmodernist.org/AF/AF-1938-01.pdf 25 Nov. European beginnings of modernism: Walter Gropius Gropius, “Bauhaus Manifesto and Programme,” 1919 http://mariabuszek.com/mariabuszek/kcai/ConstrBau/Readings/GropBau19.p df Gropius, “Principles of Bauhaus Production,” 1926 http://mariabuszek.com/mariabuszek/kcai/ConstrBau/Readings/GropPrdctn.p df Gropius, ”The Theory and Organization of the Bauhaus,” 1923, in Herbert Bayer, Bauhaus 1919-1928, Museum of Modern Art: https://www.moma.org/documents/moma_catalogue_2735_300190238.pdf De Stijl: Gerrit Rietveld Theo van Doesburg, First De Stijl Manifesto, 1918 https://www.readingdesign.org/de-stijl-manifesto Rietveld, “The New Functionalism in Dutch Architecture,“ 1932 https://modernistarchitecture.wordpress.com/2010/10/20/gerrit-rietveld- %E2%80%9Cnew-functionalism-in-dutch-architecture%E2%80%9D-1932/ Machines for Living: Le Corbusier Le Corbusier, “Five Points Towards a New Architecture,” 1926 https://www.spaceintime.eu/docs/corbusier_five_points_toward_new_archit ecture.pdf Le Corbusier, “Towards a New Architecture,” 1927 https://archive.org/details/TowardsANewArchitectureCorbusierLe/page/n91/ mode/2up E1027: Eileen Gray Joseph Rykwert, “Eileen Gray, Design Pioneer,” 1968. https://www.domusweb.it/en/from-the-archive/2013/03/16/eileen-gray- design-pioneer.html 2 Dec. Modern classicism : Ludwig Mies van der Rohe H.R. Hitchcock and Philip Johnson, Modern Architecture: International Exhibition, Museum of Modern Art, 1932. https://www.moma.org/documents/moma_catalogue_2044_300061855.pdf “Writings by Mies van der Rohe,” 181-197 in Mies van der Rohe by Philip Johnson, New York: MOMA, 1947. https://www.moma.org/documents/moma_catalogue_2734_300062055.pdf Late modernism: Louis Kahn, Philip Johnson Kahn, “Monumentality,” 1944 https://docplayer.net/53541371-Louis-kahn-essential-texts.html Kahn, “Order is,” 1960 https://hts3.files.wordpress.com/2010/12/kahn-order-is.pdf Johnson, “The Seven Crutches of Architecture,” 1954 https://hts3.files.wordpress.com/2010/12/philip-johnson_the-seven- crutches-of-modern-architecture.pdf 9 Dec. Postmodernism: Denise Scott Brown and Robert Venturi, James Stirling, Leon Krier, Thomas Beeby Robert Venturi and Denise Scott Brown, Learning from Las Vegas, 1972, pp.3- 72, in https://monoskop.org/images/archive/c/cd/20170506121429%21Venturi_Br own_Izenour_Learning_from_Las_Vegas_rev_ed_missing_pp_164-192.pdf James Stirling, Interview, 1986 https://www.architectural-review.com/essays/1986-july-sackler-sequence-an- interview-with-james-stirling/8612456.article “Spotlight : James Stirling,” 2020 https://www.archdaily.com/498291/happy-birthday-james-stirling Leon Krier, Interview, 2001 https://www.planetizen.com/node/32?utm_medium=website&utm_source=a rchdaily.com Witold Rybczynski, “Behind the Façade of Prince Charles’ Poundbury,” 2013. https://www.architectmagazine.com/design/behind-the-facade-of-prince- charless-poundbury_o “The Invisible Hand: Architect Thomas Beeby” (video), 2013: https://www.pbs.org/video/geoffrey-baer-tours-invisible-hand-architect- thomas-beeby/ The Digital Turn: Renzo Piano, Frank Gehry, Zaha Hadid, Greg Lynn Frank Gehry, Interview, 2011 https://www.archdaily.com/129680/interview-with-frank-gehry Zaha Hadid, Interview, 2015 https://www.designboom.com/architecture/zaha-hadid-interview-quotes- dies-aged-65-03-31-2016/ Renzo Piano, Interview, 2014 https://www.metropolismag.com/architecture/cultural-architecture/qa- renzo-piano/ Greg Lynn, “Organic Algorithms in Architecture,” (video) 2005 https://www.ted.com/talks/greg_lynn_organic_algorithms_in_architecture 16 Dec. The Contemporary imagination: Aldo Rossi, Tadao Ando, Peter Zumthor Rossi, A Scientific Autobiography, 1981, pp. 1-85 https://monoskop.org/images/1/18/Rossi_Aldo_A_Scientific_Autobiography. pdf Tadao Ando, Kenneth Frampton, Museum of Modern Art, 1991. https://assets.moma.org/documents/moma_catalogue_348_300085246.pdf Zumthor, “Thinking Architecture,” 2010 https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFp bnxhcnFjb250ZW1wb2l0dHxneDo1NzBkYzdjMDdlN2U2Mjcz .
Recommended publications
  • Renzo Piano Building Workshop

    Renzo Piano Building Workshop

    Renzo Piano Building Workshop Renzo Piano Antonio Belvedere Founding Partner, Chairman Partner-director In charge of the V-A-C Cultural Space, Moscow Company Profile Renzo Piano was born in Genoa in 1937 Born in 1969, Antonio Belvedere graduated into a family of builders. in architecture from the University of The Renzo Piano Building Workshop While studying at Politecnico of Milan Florence. He joined RPBW’s Paris (RPBW) is an international architectural University, he worked in the office of office in 1999, working on phase three practice with offices in Paris and Genoa. Franco Albini. of the Fiat Lingotto factory conversion In 1971, he set up the “Piano & Rogers” project, particularly on the design of the The Workshop is led by eight partner- office in London together with Richard Polytechnic and the Pinacoteca Agnelli. directors, including the founder and Pritzker Rogers, with whom he won the competition He was subsequently lead architect on Prize laureate, architect Renzo Piano, and for the Centre Pompidou. He subsequently the masterplan for Columbia University’s 3 partners. The company permanently moved to Paris. Manhattanville development in New York. employs nearly 130 people. Our 90- From the early 1970s to the 1990s, he Following promotion to Associate in 2004, plus architects are from all around the worked with the engineer Peter Rice, he worked on the masterplan for the ex- world, each selected for their experience, sharing the Atelier Piano & Rice from 1977 Falck area in Milan. enthusiasm and calibre. to 1981. He became a Partner in 2011. Recently The company’s staff has the expertise to In 1981, the “Renzo Piano Building completed projects include the Valletta City provide full architectural design services, Workshop” was established, with 150 staff Gate in Malta.
  • Iceland, Scandinavia, England & Scotland

    Iceland, Scandinavia, England & Scotland

    OUR 15TH ARCHITECTURE TOUR JOIN MALCOLM CARVER’S ARCHITECTURE TOUR OF ICELAND, SCANDINAVIA, ENGLAND & SCOTLAND London, Manchester, Glasgow, Reykjavik, Oslo, Aalborg & Copenhagen 4 -24 August 2018 A tour for architects and everybody that enjoys beautiful buildings ARCHITECTURE TOUR OF The tour at a glance… Three previous architecture tours to this delightful part of the world were limited ICELAND, to the work of the renowned modernist architect, Alvar Aalto in Finland. This grand tour of Scandinavia extends beyond Finland and begins in the City of London where many may wish to explore before we begin our northern hemisphere SCANDINAVIA, journey. Scandinavia has long been on our horizon particularly with enthusiastic ENGLAND & SCOTLAND encouragement from our many friends and previous eminent guests who we hope will again join another grand architectural pilgrimage. This region of the world has long shown exceptional, original leading modernist trends in architecture, art and Recent contemporary design that continues to inspire the whole world. architecture coupled with Our itinerary includes exciting and outstanding buildings with orientation tours of iconic modern buildings, by the gems in each city, providing a balance of old and new. We have also allowed outstanding award-winning free time for participants to individually enjoy particular buildings and landmarks of their choice, or time to enjoy galleries and museums and share the sheer pleasures and internationally renowned these beautiful cities traditionally have to offer. architects including Norman Foster, Renzo Piano, Jorn Utzon, Santiago Calatrava, Charles Rennie Mackintosh Daniel Libeskind, Denton, Corker Marshall, Stephen Holl and Zaha Hadid. TOUR ITINERARY DAY 7 Friday 10 August 2018 Glasgow Today begins with one of Zaha Hadid’s recent buildings before her sad DAY 1 Saturday 4 August 2018 Departure passing last year, Maggies Centre Kircaldy, then Glasgow School of Art Tour members depart Australian for London.
  • The Pritzker Architecture Prize1998[1]. RENZO PIANO 2

    The Pritzker Architecture Prize1998[1]. RENZO PIANO 2

    Photo by M. Denancé Reconstruction of the Atelier Brancusi, Paris, France — 1997 Photo by C. Richters Photo by M. Denancé The Beyeler Foundation Museum Basel, Switzerland 1997 Ushibuka Bridge linking three islands of the Amakusa Archipelago, Japan — 1997 Photo by Paul Hester The Menil Collection Museum Houston, Texas — 1987 Photo by Paul Hester Drawing illustrating the roof system of “leaves” for adjusting the amount of light admitted to the galleries. Photo by Hickey Robertson The Cy Twombly Gallery at the Menil Collection Museum Houston, Texas — 1995 Photo by Hickey Robertson THE ARCHITECTURE OF RENZO PIANO — A T RIUMPH OF CONTINUING CREATIVITY BY COLIN AMERY AUTHOR AND ARCHITECTURAL CRITIC, THE FINANCIAL TIMES SPECIAL ADVISOR TO THE WORLD MONUMENTS FUND It was modern architecture itself that was honored at the White House in Washington, D.C. on June 17, 1998. The twentieth anniversary of the Pritzker Prize and the presentation of the prestigious award to Renzo Piano made for an extraordinary event. Piano’s quiet character and almost solemn, bearded appearance brought an atmosphere of serious, contemporary creativity to the glamorous event. The great gardens and the classical salons of the White House were filled with the flower of the world’s architectural talent including the majority of the laureates of the previous twenty years. But perhaps the most significant aspect of the splendid event was the opportunity it gave for an overview of the recent past of architecture at the very heart of the capital of the world’s most powerful country. It was rather as though King Louis XIV had invited all the greatest creative architects of the day to a grand dinner at Versailles.
  • Renzo Piano 1998 Laureate Essay

    Renzo Piano 1998 Laureate Essay

    Renzo Piano 1998 Laureate Essay The Architecture of Renzo Piano—A Triumph of Continuing Creativity By Colin Amery Author and Architectural Critic, The Financial Times Special Advisor to the World Monuments Fund It was modern architecture itself that was honored at the White House in Washington, D.C. on June 17, 1998. The twentieth anniversary of the Pritzker Prize and the presentation of the prestigious award to Renzo Piano made for an extraordinary event. Piano’s quiet character and almost solemn, bearded appearance brought an atmosphere of serious, contemporary creativity to the glamorous event. The great gardens and the classical salons of the White House were filled with the flower of the world’s architectural talent including the majority of the laureates of the previous twenty years. But perhaps the most significant aspect of the splendid event was the opportunity it gave for an overview of the recent past of architecture at the very heart of the capital of the world’s most powerful country. It was rather as though King Louis XIV had invited all the greatest creative architects of the day to a grand dinner at Versailles. In Imperial Washington the entire globe gathered to pay tribute to the very art of architecture itself. Renzo Piano was not overwhelmed by the brilliance of the occasion, on the contrary he seized his opportunity to tell the world about the nature of his work. In his own words, he firmly explained that architecture is a serious business being both art and a service. Those are perhaps two of the best words to describe Renzo Piano’s work.
  • “Shall We Compete?”

    “Shall We Compete?”

    5th International Conference on Competitions 2014 Delft “Shall We Compete?” Pedro Guilherme 35 5th International Conference on Competitions 2014 Delft “Shall we compete?” Author Pedro Miguel Hernandez Salvador Guilherme1 CHAIA (Centre for Art History and Artistic Research), Universidade de Évora, Portugal http://uevora.academia.edu/PedroGuilherme (+351) 962556435 [email protected] Abstract Following previous research on competitions from Portuguese architects abroad we propose to show a risomatic string of politic, economic and sociologic events that show why competitions are so much appealing. We will follow Álvaro Siza Vieira and Eduardo Souto de Moura as the former opens the first doors to competitions and the latter follows the master with renewed strength and research vigour. The European convergence provides the opportunity to develop and confirm other architects whose competences and aesthetics are internationally known and recognized. Competitions become an opportunity to other work, different scales and strategies. By 2000, the downfall of the golden initial European years makes competitions not only an opportunity but the only opportunity for young architects. From the early tentative, explorative years of Siza’s firs competitions to the current massive participation of Portuguese architects in foreign competitions there is a long, cumulative effort of competence and visibility that gives international competitions a symbolic, unquestioned value. Keywords International Architectural Competitions, Portugal, Souto de Moura, Siza Vieira, research, decision making Introduction Architects have for long been competing among themselves in competitions. They have done so because they believed competitions are worth it, despite all its negative aspects. There are immense resources allocated in competitions: human labour, time, competences, stamina, expertizes, costs, energy and materials.
  • C O M P a N Y P R O F I

    C O M P a N Y P R O F I

    company profile whotectoo is a creative hub of architects whose partners’ background experience spans across many countries and continents: Europe, North America, Middle East and Far East, Australia and Africa. Our people We trust in what we do and how it is conceived selecting the right people with different attitudes, expertise and ambitions but with common qualities: trust, motivation and knowledge. 1 Tectoo is an architectural design firm established by the Architect Susanna Scarabicchi, former partner of Renzo Piano Building Workshop (RPBW). Her expertise, sensitivity and competence have been highly recognized around the world throughout the projects she led and designed over the past 30 years. She developed a commendable portfolio of projects that prompted community regeneration, sense of place and design quality. Tectoo’s cutting-edge approach is also enhanced by the expertise of Architect Andrea Peschiera, with whom Architect Scarabicchi has had a close and productive collaboration during the last five years at RPBW and who joined the firm as partner and director since the early stages, sharing the common focus on technical excellence and experimentation developed through his international experience. Tectoo is deeply rooted by architectural, environmental and social convictions for what designing for the future means. Creating something new in a world everyday more fragile requires the profound awareness that the best building concepts grow by means of a rigorous and innovative approach. Our view is that creating good architecture involves developing and implementing competencies in collaboration with an extensive network of experts from many fields and disciplines whilst engaging in a strong relationship with our clients in order to define common goals.
  • Architectural Thought : the Design Process and and the Expectant

    Architectural Thought : the Design Process and and the Expectant

    184 Drexler, Arthur (1955) The Architecture of Japan, New York Evans, Robin (1986) ‘Translations from drawing to building’, AA Files, no. 12, London Fawcett, Chris (1980) ‘Colin St J Wilson’ in Contemporary Architects, London Fletcher, B.C. (1943) A History of Architecture: On the Comparative Method, Charles Scribner’s Sons, New York, 11th edn Foster, Norman (1996) ‘Carré d’Art’ in The Architecture of Information (ed. Michael Brawne), London Gaskell, Ivan (2000) Vermeer’s Wager: Speculations on Art History, Theory & Museums, London Gideon, Sigfried (1954) Space, Time and Architecture: the growth of a new tradition, 3rd edition, Oxford University Press, London Gimpel, Jean (1993) The Cathedral Builders (translated from the French by Michael Russell), London Girouard, Mark (1998) Big Jim: the Life & Work of James Stirling, London Gombrich, E.H. (1960/77) Art and Illusion, Oxford Hays, K. Michael (ed.) (2000) Architecture Theory Since 1968, Cambridge, Mass Isaacs, Jeremy (2000) ‘Wunderkind’ in The Royal Academy Magazine, no. 68, Autumn, London Johnson, Eugene V. & Lewis, Michael J. (1996) The Travel Sketches of Louis I. Kahn, Cambridge, Mass Johnson, N.E. (1975) ‘Light is the Theme’, Fort Worth, Texas Kruft, Hanno-Walter (1994) A History of Architectural Theory from Vitruvius to the Present, London Latour, Alessandra (1991) Louis I. Kahn: writings, lectures & interviews, New York LeCuyer, Annette (1997) ‘Building Bilbao’ in Architectural Review, December Leiviskä, Juha (1999) Juha Leiviskä, Helsinki Libeskind, Daniel (1992) ‘Between the Lines’ in Extension to the 185 Berlin Museum with Jewish Museum Department (ed. Kristin Feireiss), exhibition catalogue, Berlin McLaughlin, Patricia (1991) ‘How am I doing, Corbusier’ in Louis I.
  • Vision for M+ Herzog & De Meuron Start Each Project Free Of

    Vision for M+ Herzog & De Meuron Start Each Project Free Of

    Herzog & de Meuron + TFP Farrells Vision for M+ Herzog & de Meuron start each project free of M+ shall be much more than an individual building, but predetermined ideas, guided by curiosity and conscious instead like a small city with entrance gates, gathering naivety. Developed through rational methodologies and places, main avenues and side streets. Movement, of open dialogue, we design projects that respond to the people and objects, shall be conceived horizontally and needs of users and are meaningful to their context. vertically, like Hong Kong itself, to achieve openness and accessibility. M+ has the opportunity and responsibility to lead the architecture and atmosphere of the West Kowloon As a shared platform for the local and global to meet, M+ Cultural District in its development. M+ shall address shall both grow out of and nourish the evolving cultural all of its neighbours with equal consideration whether it community of Hong Kong and include a large distribution be sea or land, city or park, underground or sky, tunnel of education spaces that encourage direct and spontaneous or tower. The responses to each internal and external learning. condition will ultimately shape M+ into its final form. The ability to choose and create one’s own experience We imagine a variety of exhibition possibilities – both could be a key factor that differentiates M+ from previous inside and outdoors – that provide the very specific and incarnations of the big museum, and leads it to become the very flexible by offering a range of spaces and uses not only a global centre of culture, but a common space in that embrace difference and individuality, rather than Hong Kong to generate new perceptions, new phenomena repetition or one-size-fits-all universality.
  • Towards the Performative Architecture Through the Tectonic Vision

    Towards the Performative Architecture Through the Tectonic Vision

    International Scientific Journal Architecture and Engineering http://architecture.scientific-journal.com Towards the performative architecture through the tectonic vision. Mafalda Fabiene Ferreira Pantoja Architecture and Urbanism Department Fluminense Federal University - UFF Rio de Janeiro, Brazil [email protected] Pedro da Luz Moreira Architecture and Urbanism Department Fluminense Federal University - UFF Rio de Janeiro, Brazil [email protected] Louise Land Bittencourt Lomardo Architecture and Urbanism Department Fluminense Federal University - UFF Rio de Janeiro, Brazil [email protected] Abstract— The purpose of this paper is to discuss questions that the challenges of the commercialization of architecture and indicate a direction for a good life in contemporary cities and a urban planning in order to pursuit a performative architecture. new action by architects and planners, promoting the concept of performative architecture through the tectonic vision. Tectonics, Keywords: tectonics; contemporary architecture, performative often known as the “construction art”, cannot be defined as a sole architecture. matter. In this work will be applied the concept`s definition capable to join the material aspects of architecture with the I. INTRODUCTION cultural aspects where it is inserted, aiming to provide examples that cover the precepts of performative architecture. The Tectonics, often known as the construction art, cannot be contemporary landscape is highly diversified due to the defined as a sole matter. In this document will be applied the unrestrained growth of big centers, also urban and architectural concept´s definition capable to join the architecture material spaces of diverse use need specific solutions for the new demands. aspects with the cultural and aesthetic aspects where it is The building performance is relevant for architectural and inserted.
  • The Design of New Buildings in Historical Urban Context: Formal Interpretation As a Way of Transforming Architectural Elements of the Past

    The Design of New Buildings in Historical Urban Context: Formal Interpretation As a Way of Transforming Architectural Elements of the Past

    THE DESIGN OF NEW BUILDINGS IN HISTORICAL URBAN CONTEXT: FORMAL INTERPRETATION AS A WAY OF TRANSFORMING ARCHITECTURAL ELEMENTS OF THE PAST A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY ELİF BEKAR IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE SEPTEMBER 2018 Approval of the thesis: THE DESIGN OF NEW BUILDINGS IN HISTORICAL URBAN CONTEXT: FORMAL INTERPRETATION AS A WAY OF TRANSFORMING ARCHITECTURAL ELEMENTS OF THE PAST submitted by ELİF BEKAR in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture Department, Middle East Technical University by, Prof. Dr. Halil Kalıpçılar _________________ Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Cânâ Bilsel _________________ Head of Department, Architecture Prof. Dr. Aydan Balamir _________________ Supervisor, Architecture Dept., METU Examining Committee Members: Assoc.Prof. Dr. Haluk Zelef _________________ Department of Architecture, METU Prof. Dr. Aydan Balamir _________________ Department of Architecture, METU Prof. Dr. Esin Boyacıoğlu _________________ Department of Architecture, Gazi University Date: 07.09.2018 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Elif Bekar Signature : ____________________ iv ABSTRACT THE DESIGN OF NEW BUILDINGS IN HISTORICAL URBAN CONTEXT: FORMAL INTERPRETATION AS A WAY OF TRANSFORMING ARCHITECTURAL ELEMENTS OF THE PAST Bekar, Elif M.Arch., Department of Architecture Supervisor: Prof.
  • Interpretation of Minimalism in Architecture According to Various Culture

    Interpretation of Minimalism in Architecture According to Various Culture

    Published by : International Journal of Engineering Research & Technology (IJERT) http://www.ijert.org ISSN: 2278-0181 Vol. 10 Issue 07, July-2021 Interpretation of Minimalism in Architecture According to Various Culture Swetha Elangovan1 , Madhumathi.A2 1 Student, School of Architecture, VIT University, Vellore, Tamilnadu, India 2Professor, School of Architecture, VIT University, Vellore, Tamilnadu, India Abstract:- Minimalism is agreeable as a cultural definition that has an aesthetic approach towards various fields. Since the 1960s, minimalism has been a common movement of art, architecture and lifestyle. Minimalism is a name used to define arts that flourish in content and form with simplicity, as well as a sign of private expressiveness. Minimalism is recognized by reasoning as concept of culture. The modern culture is somehow impregnated by minimalism. Simplicity in architecture allows the user’s/ viewers to experience and grasp the work instantly. Necessary elements in architecture to achieve a simplicity design is limited no. of. materials, play with light, color, and geometric forms and most importantly removing the minor elements to highlight the major elements. The idea of this study is to comprehend how different cultures have diverse understandings towards minimalist architecture. Key words: Minimalist Architecture, Culture, Interpretation, Western, Japanese. 1. INTRODUCTION From 1960s, minimalism has been a common movement of art, architecture and lifestyle. Visual arts and architecture are differentiated and conveyed at one of the points is modernism as a category of art-object (Macarthur, 2002). It is reasonable to say that minimalism is a self-aware version of modernism where it reflects the current way of life. Minimalism concentrated on the most essential elements and a form’s simplicity and it is believed to be evolved from the modern movement whereas few philosophers tend to disagree by indicating that minimalism is indeed very closely linked to a user’s lifestyle and culture.
  • PETER ZUMTHOR RECONSIDERS LACMA on VIEW: JUNE 9-SEPTEMBER 15, 2013 LOCATION: Resnick Pavilion

    PETER ZUMTHOR RECONSIDERS LACMA on VIEW: JUNE 9-SEPTEMBER 15, 2013 LOCATION: Resnick Pavilion

    ^ Pacific Standard Time PRESENTS: MODERN ARCHITECTURE IN L.A. EXHIBITION: THE PRESENCE OF THE PAST: PETER ZUMTHOR RECONSIDERS LACMA oN VIEW: JUNE 9-SEPTEMBER 15, 2013 LOCATION: resnick pavilion (Los Angeles-January 14, 2013) The Los Angeles County Museum of Art (LACMA) presents The Presence of the Past: Peter Zumthor Reconsiders LACMA. This exhibition about the proposed future of LACMA’s campus is part of the Getty’s Pacific Standard Time Presents: Modern Architecture in L.A. initiative. The exhibition will be divided into three sections, with the first devoted to an exploration of the museum’s buildings within the complicated history of Hancock Park—a unique site with explicit ties to Los Angeles’s primordial past. For the first time in an exhibition, LACMA will analyze the development of its campus and explain how financial restrictions, political compromises, and unrealized plans have impacted the museum’s architectural aesthetic and art-viewing experience. This section will include rarely seen materials relating to unrealized master plans for LACMA by Renzo Piano and Rem Koolhaas, as well as new insights about the designs by William Pereira, Bruce Goff, and more. Swiss architect Peter Zumthor has been commissioned to rethink the east campus at LACMA by addressing challenges raised by the original structures, and to present a different approach, one that posits a new relationship to the historic site as well as examines the function of an encyclopedic museum in the twenty-first century. The exhibition will display Zumthor’s preliminary ideas about housing LACMA’s permanent collections, including several large models built by the architect’s studio.