Friday 29 April 2011
Thursday 28 April 2011
YONA FRIEDMAN
Yona Friedman (*1923) developed his concept of Ville spatiale, the Spatial City, on the basis of two elementary thoughts: Architecture should only provide a framework, in which the inhabitants might construct their homes according to their needs and ideas, free from any paternalism by a master builder. Furthermore, he was convinced that the progressing automation of production and, resulting from that, the increasing amount of leisure time would fundamentally change society. The traditional structure of the city, according to Friedman, is not equipped for the new society. He suggested mobile, temporary and lightweight structures instead of the rigid, inflexible and expensive means of traditional architecture.
http://architektura.muratorplus.pl/zdjecia/La_Ville_spatiale_Yona_Friedman.jpg
http://www.culture-routes.lu/uploaded_files/infos/ev/00003204/00003204.jpg
http://mobilome.files.wordpress.com/2007/10/yona-friedmann.jpg?w=500
http://ethel-baraona.tumblr.com/post/424338429/yona-friedman-ville-spatiale-in-binckhorst-in
http://socks-studio.com/img/blog/99Eolp3sWotjb104ZncN2rRpo1_1280-800x526.jpg
http://www.mocadetroit.org/images/spatial_city.jpg
Wednesday 27 April 2011
ISA GENZKEN
The hulking masses conjure derelict and dimly lit housing projects and bombed out buildings. Simultaneously, the concrete works rise like pseudo-romantic ruins, gaping structures that speak eloquently of a grandeur that has succumbed to the ravages of nature and time.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
CYPRIEN GAILLARD- Urban Romanticism
…the (real) Site and the (reconstructed) Non-Site (at times exhibited in a gallery) enter into a dialectic relationship. The Non-Site is not the opposite of the Site, but rather its abstract equivalent, its enantiomorph.
The borders between fiction and reality, nature and artefact disappear.
The entropic spreading out like Smithson’s frequently cited desert landscape generates an all-encompassing sameness, but at the same time enables a reappraisal of our cultural memory and the architecture of post-war modernity.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
http://www.youtube.com/watch?v=qqTGtLZeoCY
BURIED WOODSHED-EXPLODED WOODSHED
http://ts3.mm.bing.net/images/thumbnail.aspx?q=702431504030&id=54c1666c98e858b67e62a6d83465b58f
http://riseinruin.files.wordpress.com/2009/02/woodshed.jpg?w=460&h=337
http://www.genetologisch-onderzoek.nl/wp-content/image_upload/cornelia-parker.jpg
http://www.tate.org.uk/modern/exhibitions/cinema/images/parker.jpg
Robert Smithson
De-Architecturization
Robert Smithson developed the concept of de-architecturization, which views architecture from the perspective of an unavoidable entropic development. The concept of entropy, which he borrows from the natural sciences, identifies the irreversible process of homogenization, which ultimately flows into an undifferentiated chaos of disordered matter and heat death.
When architecture is subjected to time, not only the building process, but also the process of decay comes into view.
Work example: Partially Buried Woodshed
The architecture literally becomes a site of transition. Smithson developed the idea of an architecture of impermanence, one which focused on its own disappearance as its subject, depicted time in the site, and made itself the event.
“One´s mind and the earth are in a constant state of erosion, mental rivers wear away abstract banks, brain waves undermine cliffs of thought, ideas decompose into stones of unknowing, and conceptual crystallizations break apart into deposits of gritty reason.”
For him, the only constant is decay, and from a context of dissolution and decomposition emerges an architecture of absolute presence, which can be understood only as the absence of any kind of human order and which generates a feeling of being lost in space.
Smithson attempted to to develop artistic concepts in association with forces of nature: concepts that did not offer any solutions, but rather took into account their own failure, thematizes their own disappearance.
"You might say that my work is like a an artistic disaster. It is a quiet catastrophe of mind and matter."
…the disappearnce of architecture, whether as the nucleus of social life, as built structure under the influence of natural forces, or as an ideological framework behind motifs of desire.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
Robert Smithson developed the concept of de-architecturization, which views architecture from the perspective of an unavoidable entropic development. The concept of entropy, which he borrows from the natural sciences, identifies the irreversible process of homogenization, which ultimately flows into an undifferentiated chaos of disordered matter and heat death.
When architecture is subjected to time, not only the building process, but also the process of decay comes into view.
Work example: Partially Buried Woodshed
The architecture literally becomes a site of transition. Smithson developed the idea of an architecture of impermanence, one which focused on its own disappearance as its subject, depicted time in the site, and made itself the event.
“One´s mind and the earth are in a constant state of erosion, mental rivers wear away abstract banks, brain waves undermine cliffs of thought, ideas decompose into stones of unknowing, and conceptual crystallizations break apart into deposits of gritty reason.”
For him, the only constant is decay, and from a context of dissolution and decomposition emerges an architecture of absolute presence, which can be understood only as the absence of any kind of human order and which generates a feeling of being lost in space.
Smithson attempted to to develop artistic concepts in association with forces of nature: concepts that did not offer any solutions, but rather took into account their own failure, thematizes their own disappearance.
"You might say that my work is like a an artistic disaster. It is a quiet catastrophe of mind and matter."
…the disappearnce of architecture, whether as the nucleus of social life, as built structure under the influence of natural forces, or as an ideological framework behind motifs of desire.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
Gordon Matta-Clark
Living archaeology
Like an archaeologist he removed layer for layer of the material substance of buildings, safeguarded the traces of everyday life that had taken place in the buildings in and around the metropolis.
He transferred fragments of buildings from various urban sites to exhibition spaces.
Following Smithson’s methods of seeing the present as though in a science fiction novel, that is, looking from the future back to the past, he designed his own “living archaeology”.
Construction sites and ruins were for him two sides of the same coin, namely, indicators of a modernist understanding of temporal development, of progress, and belief in the future.
In his own words, “Ruins in reverse” are the opposite of the “romantic ruin” because the buildings don’t fall into ruin after they are built but rather rise into ruin before they are built.
For him the categorical separation of plan and realization, idea and reality, concept and event, individual and environment was partially responsible for that which he felt to be the aporia of architecture.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
Like an archaeologist he removed layer for layer of the material substance of buildings, safeguarded the traces of everyday life that had taken place in the buildings in and around the metropolis.
He transferred fragments of buildings from various urban sites to exhibition spaces.
Following Smithson’s methods of seeing the present as though in a science fiction novel, that is, looking from the future back to the past, he designed his own “living archaeology”.
Construction sites and ruins were for him two sides of the same coin, namely, indicators of a modernist understanding of temporal development, of progress, and belief in the future.
In his own words, “Ruins in reverse” are the opposite of the “romantic ruin” because the buildings don’t fall into ruin after they are built but rather rise into ruin before they are built.
For him the categorical separation of plan and realization, idea and reality, concept and event, individual and environment was partially responsible for that which he felt to be the aporia of architecture.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
The disappearance of architecture
The disappearance of architecture as an artistic theme
Buildings emerge and decay. They promise permanence and security, although they are undoubtably constantly remodelled and then disappear one day. Usually they are destroyed as the result of military conflicts or to make room for new buildings, and when they remain untouched, they are still inevitably subjected to the effects of natural forces and thereby to deterioration. To this extent, in contrast to the other arts, architecture, horticulture, and urban planning have a special relationship with nature: they must confront its forces directly. This precarious relationship to nature, whereby their own disappearance must necessarily be taken into account, ca be a theme for art. This applies also to the destruction of what exists through new creation, which likewise contributes to architecture’s disappearance.
Foundation as displacement
Every construction process changes the spatial context and is even capable of ruining the evolved urban fabric and its environment. In the city, this process begins with the evacuation of buildings before demolition to make room for new structures. Gordon Matta-Clark alluded, on the one hand, to the broken windows theory, according to which the first signs of a neighbourhood’s decline can be read from the broken windowpanes of unoccupied buildings.
Nature in architecture
Architecture’s constitutive paradox, defending something existent against transitoriness with the forces of nature against nature, has no permanence and finds its fate in the built structure’s decay. The clash of nature and civilization becomes visible in architecture through ruins.
Folie, S. 2009 Modernism as a ruin : an archaeology of the present Nürnberg: Verlag für Moderne Kunst, 2009.
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