The contextual relocation of Maria Eichhorn's Relocating a structure in Open for Maintenance - Wegen Umbau geoffnet, German Pavilion, 18th International Architecture Exhibition La Biennale di Venezia (original) (raw)
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EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE.pdf
EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE: TRANSFORMATION OF WAREHOUSE 5 OF ISTANBUL, 2018
It’s believed in the modern ages that the existence of architecture date back to first human who needs to take shelter and creation of architecture belongs to a natural human instinct. Although architecture is born from natural human needs, architectural intellection which is shaped by aesthetic thoughts is formed for a long time in the history. Architectural productions which are shaped with various physical environments and communities are probably the most tangible productions that represent the community in the physical environments over the context. From the ancient history to present, architecture represents social classes, economic and cultural structures, rulerships and beliefs. Before the modern ages, architectural production’s representation is formed by architectural needs with the context. With the modern ages, its changed into representation of architectural production itself and its architect beyond the context. One of these architectural productions are museums which are exhibition spaces. It’s known that modern museums are started to build in 18th century. In the 19th century, museums are designed and differentiated by the common approach “specific spaces for specific objects”. In 20th century, exhibition spaces have become exhibition object itself beyond the “only” exhibition space. Istanbul Painting and Sculpture Museum which is still under construction, could seen as one of these cases. In the frame of the study, transformation of representation of architecture over the exhibition spaces is researched and compared with the similar historical spaces’ transformations. With the relations between representation and the city is researched with literature views on global cases. Istanbul Painting and Sculpture Museum which is the case of the study is examined with site observations and photographs. The aim of the study is to scrutinise and understand that exhibition spaces’ representation of itself and transformation beyond-context with making comparisons between similar global cases.
Livable Environments and Architecture International Congress, LIVENARCH VII- Other Architectures Proceedings Vol. III, 2021
In the late 60s and 70s, while artists used architectonic forms in exhibitions, architects pursued the artistic category of installations as a form of architectural production and proposed new spatial conditions for more socially-oriented practices. This “other” practice that is defined as “making (for) the exhibition”, ascribes a flat ontology to disciplinary concepts, processes and techniques, while bringing out the repetition or resemblance of spatial works in large-scale visual art or architecture exhibitions and pointing out their insignificant categorization today. “Art-architecture coupling” that refers to a field beyond visual arts and architecture, necessitates a redefinition of its practitioners and categories which are aimed to be represented in this paper referring to Peter Osborne and Eric Alliez’s characterization of the “transdisciplinary” and “transcategorial” works of artistic practice. An emphasis on the processual and performative character of exhibition as a “project” suspends the object/subject or work/viewer division and assigns them an “agency” in equal terms. Yet, their distributed agencies within the relational assemblage of the exhibition are brought into question drawing upon the concept of “quasi-object” in Michel Serres and Bruno Latour’s terms, and how quasi-objects of art-architecture performs in the transformation or re assembling of the dynamic social space, such as an exhibition, is opened to discussion. This paper recalls Venice Biennale, and a peculiar historical moment of its decentralization from the academic arts, having a social orientation with the articulation of visual arts and architecture in mid 1970s. As a transversal project, the case of the 1975 Mulino Stucky exhibition that marks the art-architecture coupling in the Biennale history, is reassessed through archival visual documents deciphering material and social relations of its performative processes, established by different conceptualizations and materializations of the quasi-objects in exhibit.
From Object to Installation in Bruno Taut's Exhibit Pavilions
Journal of Architectural Education, 2006
This study investigates the gradual evolution of the idea of installation in three experimental exhibition pavilions designed before World War I by the German architect Bruno Taut. In collaboration with the critic Adolf Behne, Taut gradually transferred ideas from Expressionist painting to architecture and helped move his designs, and with it modern architecture more generally, from a focus on visual “objects,” to multisensory “experiences,” an idea that continues to resonate in modern installations today.
unplace: a museum without a place
anti-utopias, 2015
Presentation text and interview with Helena Barranha and Rita Xavier Monteiro by Sabin Bors, for anti-utopias contemporary art platform
Unconventional exhibition spaces as an example of the synergy of architecture and art
2020
The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author’s exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled “Artwork in Architecture”, there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of b...