Repositioning Strategies of Site-specificity: Extreme 1 (original) (raw)
Beginning with the second half of the 20 th century until today, site-specificity has been used to mark a specific relation of an artwork with the site of its realisation or representation. Having been qualitatively easily applicable to a wide range of artistic practices, and used in different contexts for more than half a century, it has become the most commonly used term to refer to almost any possible relationship of an artwork and space it occupies. Inspiring and intriguing in its nature, the concept of site-specificity has evolved to such an extent, that it is possible to recognise two conflicting but interrelated processes: while suggesting diverse approaches to site-specificity, its development consequently leads to defining different categories of site-related qualities within the term. At the same time, this process often unfolds towards questioning the meaning of the term itself, due to its vast and uncritical application. This research aims at marking the strategies of site-specificity, through proposed specific typology of approaches within this phenomenon. The main objective of the work is to address this issue from the standpoint of architectural theory and spatial design practices. Thus, the crucial criteria for establishing such a typology refers to the role of space in chosen examples, with a specific focus on methods and procedures that led to their development. From recognising the practices of minimalist sculpture and the strategies of spaces writing over each other, to considering the possibilities of site-specific theatre, this research offers a theoretical construct of yet another extreme of the site-specific phenomenon, deeply rooted in architectural practice and education.
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