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Post-Minimal Architectural Sculpture Sculptural Architecture http://www.nytimes.com/packages/khtml/2007/03/27/arts/artsspecial/20070328_BIRTH_AUDIOSS.html?adxnnl=1&adxnnlx=1175178451-CKgno4UBJdFF1+NuoR9TeA New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa
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Post-MinimalArchitectural SculptureSculptural Architecturehttp://www.nytimes.com/packages/khtml/2007/03/27/arts/artsspecial/20070328_BIRTH_AUDIOSS.html?adxnnl=1&adxnnlx=1175178451-CKgno4UBJdFF1+NuoR9TeA
New Museum of Contemporary Art, NYC
designed by SANAA: Kazuyo Sejima & Ryue Nishizawa
Alice Aycock (US, b. 1946) Maze, 1972, Pennsylvania (destroyed)“Originally, I had hoped to create a moment of absolute panic when the only thing that mattered was to get out.” (embodied vision – phenomenological consciousness)
Alice Aycock (American, born 1946), Study for Project Entitled "The City of the Walls: A Narrow City: A Thin City," 1978, pencil on vellum paper, 42 3/8 x 72,“ MoMA NYC
(left) Emilio Ambasz (American b.1943 Argentina) Fukuoka Prefectural Hall, section & aerial views, ink jet prints on watercolor paper with hand-drawing in colored pencil, 1998(right) Compare Jackie Ferrara sculpture, A201 Ribat, 1979
M160, masonite4 x 13 x 13” 1976
1-14 Ramp, masonite3 x 17 x 48”, 1974
A209 Zogg, 1980, Pine
A201 Ribat, 1979, wood
86 x 51 x 20 in
“In Depth: The House of Spiritual Retreat,” 2006
Richard Serra, Bilbao permanent collection (left); Torqued Elipses, 1997, Dia (right)spatial affinity-unity-dialectical intercourse of museum and sculpture. Both work to create a theatrical space, an embodied visual-spatial experience
Frank Gehry (US, b. Canada, 1929) Guggenheim Museum Bilbao, Bilbao, Spain, 1997compare (right) Aycock, Functional and Fantasy Stair, 1996. San Francisco Main Library, 100 Larkin St., 5th floor and 4th Floor Atrium, aluminum, painted steel, stainless steel, and plaster sculpture. “Functional and Fantasy Stair wraps around a two-story sculptural cone with an appearance of unraveling itself. As it unravels, fragments of imaginary stairs peel away.
Zaha Hadid (British, b. Iraq, 1950) Wolfsburg, Germany, Science Center, 2002Deconstructivist Architectureand new digital design possibilities. See course website“Readings” for video interview of Hadid.
Tim Hawkinson (US, b. San Francisco, 1960) (left) Überorgan, 2007, woven polyethylene, nylon net, cardboard tubing, and various mechanical components. Getty installation (Santa Monica), 2007. In this version it interacts with the modernist white walls, travertine, and glass of Richard Meier's architecture
at Mass MoCA (right
top and bottom)
Sound and air controls
Learning from Las Vegas, 1972Robert Venturi, Denise Scott Brown and Steven IzenourLearning from Las Vegas marked the historical origin of postmodern architecture. The book created a controversy in 1972 by calling for architects to be more receptive to the vernacular, the tastes and values of "common" people, and less immodest in their (Modernist) erections of "heroic," self-aggrandizing monuments.
"A roadway could become a city. A building
could become a sign. In no place at all,
someplace could be created. That is Las Vegas' genius.“
from Learning from Las Vegas
Gropius, Bauhaus, 1925-6, an icon of modern architecture
The demolition of the Pruitt-Igoe housing project in St Louis, USA, 1972Modernist mass housing projects can be found in every major city worldwide. Failed utopianism
Postmodern “Vernacular” (Pop) ArchitectureFrank Gehry, (top left) Fishdance Restaurant, Kobe, Japan, 1987(left below) Gehry and Claes Oldenburg, Chiat-Day Building, 1986, Venice, California(right) Anonymous, Duck Restaurant, from Learning from Las Vegas
An advertising agency
Gordon Matta-Clark (US, 1943–1978), Splitting, 1974Matta-Clark cut through (with a chain saw) a condemned suburban two-story home in Englewood, New Jersey, splitting it down the middle. http://www.ubu.com/film/gmc_splitting.html
“anarchitecture” (anarchy + architecture)
Undoes the “home” as place of security
Gordon Matta-Clark, Splitting, 1974, chromogenic prints mounted on board, 40 x 30 in. “non-u-mental” - “to convert a place into a state of mind”
Matta-Clark, Conical Intersect, 1974, near the Pompidou Center (Beaubourg), two townhouses dated 1699 and located in the first arrondissement, Paris
Cornelia Parker (English b. 1956 - a “YBA”: Young British Artist), Cold Dark Matter: An Exploded View 1991, a garden shed that had been filled with domestic objects by the artist and exploded by the British Army at her request. Below left is shed prior to explosion.
Cornelia Parker, Mass (Colder Darker Matter), 1997, Charcoal retrieved from a church struck by lightning (Baptist Church of Lytle, Texas), approximately 156 x 126 x 126”
on January 11, 1993
Do-Ho Suh (Seoul, Korea, b.1962) Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home, 1999, Silk, 149 x 240 x 240 inches, Installation view at the Seattle Asian Art Museum, Seattle, 2002, Collection of the Museum of Contemporary Art, Los Angeles
Do-Ho Suh, Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home 1999, silk, 149 x 240 x 240 inches, Installation view at the Korean Cultural Center, Los Angeles, 1999
“The way that an artwork brings materials together is incredibly powerful. Sculpture is its materiality. I work with materials that are already charged with significance, with meaning they have acquired in the practice of everyday life…then, I work to the point where it becomes something else, where metamorphosis is reached.”
Video of Salcedo discussing her intentions
Krzysztof Wodiczko (Polish, b. 1943), Homeless Vehicle Project, New York, 1988. Canadian passport, lives in New York and Boston, works at MIT
Image from the CECUT Project, Tijuana, Mexico, 2001 by Krzysztof Wodiczko, Adam Whiton, Sung Ho Kim. "The purpose was to use progressive technology to give voice and visibility to the women who work in the "maquiladora" industry in Tijuana. We designed a headset that integrated a camera and a microphone allowing the wearer to move while keeping the transmitted image in focus. The headset was connected to two projectors and loudspeakers that transmitted the testimonies live. The women's testimonies focused on a variety of issues including work related abuse, sexual abuse, family disintegration, alcoholism, and domestic violence. These problems were shared live by the participants, in a public plaza on two consecutive nights, for an audience of more than 1,500. projections on the 60-foot diameter facade of the Omnimax Theater at the Centro Cultural Tijuana(CECUT)