Sculptural Architecture Architectural sculpture 2010

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					                              Post-Minimal
                 Architectural Sculpture
                 Sculptural Architecture

http://www.nytimes.com/packages/khtml/2007/03/27/arts/artsspecial/20070328_BIRTH_A
       UDIOSS.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
                                      Jackie Ferrara (US, b. 1924), sculptures
                                    pre-conceived in numerous detailed drawings
                                             as in architectural design


M160, masonite
4 x 13 x 13” 1976




                         1-14 Ramp, masonite
                         3 x 17 x 48”, 1974




                                                      A209 Zogg, 1980, Pine
A201 Ribat, 1979, wood                                112” H
86 x 51 x 20 in
Emilio Ambasz, La Casa de Retiro Espiritual (House of Spiritual Retreat)
                       1979 Cordoba, Spain
Ambasz, photograph from exhibition catalogue, MoMA NYC
“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, 1997
compare (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, 2002
Deconstructivist Architecture
and 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




                                                Überorgan 2000
                                                at Mass MoCA (right
                                                top and bottom)




                                                                        Sound and air controls
Learning from Las Vegas, 1972
Robert Venturi, Denise Scott Brown and Steven Izenour

Learning 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.“                            Gropius, Bauhaus, 1925-6, an
                           from Learning from Las Vegas      icon of modern architecture
  The demolition of the Pruitt-Igoe housing project in St Louis, USA, 1972
Modernist mass housing projects can be found in every major city worldwide.
                              Failed utopianism
                     Postmodern “Vernacular” (Pop) Architecture
             Frank 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
Gehry House, by Frank Gehry, at Santa Monica, California, 1978
           “Deconstructive” domestic architecture
               Gordon Matta-Clark (US, 1943–1978), Splitting, 1974
Matta-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.




detail
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”




                                                                           Detail
Rachel Whiteread (British b. 1963) House [East London], 1993-4
Rachel Whiteread, House, 1993, (left) before
            and after casting
         (below) casting process
Demolition of House
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
Doris Salcedo (Bogotá, Colombia, 1958), Unland: irreversible witness, 1995-
1998, wood, cloth, metal, and hair
              http://www.sfmoma.org/artwork/26592#
     For more information about Salcedo’s process and intentions
                San Francisco Museum of Modern Art



“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.”
                                  Doris Salcedo
Doris Salcedo, Shibboleth, 2008,
       Turbine Hall, Tate
 http://www.tate.org.uk/modern/exhi
  bitions/dorissalcedo/default.shtm




http://channel.tate.org.uk/media/28291797001
Video of Salcedo discussing her intentions
regarding Shibboleth
Krzysztof Wodiczko (Polish, b.
1943), Homeless Vehicle Project, New
York, 1988. Canadian passport, lives
in New York and Boston, works at MIT
Krzysztof Wodiczko, The Hiroshima Projection, 1999, public projection at the A-Bomb
Dome, Hiroshima, Japan
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)
Andrea Zittel (US, b. 1965) with Wagon Station, 2005 (right) at A-Z West near Joshua
Tree, California
Andrea Zittel, A-Z Escape Vehicles, 2005

				
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