Shaping Ephemeral Architecture by the Media (original) (raw)
Related papers
Weltbild and Bildwelt: Picturing the Barcelona Pavilion in The Age of Show
[I]n the artwork the meaning of the object takes on spatial appearance, whereas in photography the spatial appearance of an object is its meaning. Sigfried Kracauer, " Photography " [I]n this age of interface, the image…gives way before something new that I call show. It is the historian's task to fi nd and weigh the evidence establishing whether show is heterogeneous to what has been called image in the past. …Since the sixteenth century…the eye [has been]…but [an] instrument by which images are imprinted. …This identifi cation of vision with inward visualization must be recognized as a crucial achievement of European modernity. …Weltbild…[sig-nifi es] " the image of the world. " …[I]n the nineteenth-century…[it] was used in opposition to " worldview. " …Bildwelt is [a] very new [term]. …It suggests a 'universe of pictures " by which I am surrounded and which hide from me the world of raw things. Their opposition suggests the transition from the visualization of the world to the reduction of the world to a picture. Ivan Illich, " Guarding the Eye in the Age of Show " A symposium such as this underscores both the power and, perforce, the potential problems of architectural reconstructions – analog or digital. [2] The construction of a full-size replica of the Barcelona Pavilion on the site of the 1929 building raises similar if not more perplexing questions. Projecting reconstructions is not new of course; King Solomon reconstructed a dream in the form of a temple to house the arc of the covenant. [3] It is one thing, however, to build based on even the most vivid recollection of a dream state. It seems quite another to create a simulacrum of a building that provokes a kind of dream state in those who are drawn into, often uncritically, representations afforded the status of a realized building. In the case of the Barcelona Pavilion, this happens all too frequently in disciplines as varied as painting, sculpture, landscape architecture, and of course, architecture. The medium that entices the mutability of interpretations and the apparent lack of criticality regarding the Barcelona Pavilion, is the curious combination of the 1986 reconstruction and the photographs of the German Representation Pavilion from 1929. [4] I just came from a conference of architectural historians held a few days ago where a paper presenter, using a 1981 reconstructed plan, photographs of the 1929 building, and her own photographs of the 1986 replica, argued that the Barcelona Pavilion is nothing less than a paradigm of embodied material architecture – a cross roads where phenomenology and architecture meet. That the Barcelona Pavilion can be presented, and readily accepted, as a poster child for phenomenological architecture brings into focus the intoxicating power of the image of a building constructed in photographic space. The canonical photographs of this building may be the single most infl uential and untested images of what has become a paradigm of " modern " architectural form, space, and oddly enough, materiality. The world of 0's and 1's did not create this phenomenon; it has, however, accelerated its development and made more acute its effects on both the culture of images and the image of culture. [5] The 16 Berliner Bild-Bericht master prints, originally owned and controlled by Mies van der Rohe, were bequeathed to the Museum of Modern Art (MoMA) in 1969. They are an instructive case study of this condition, having elevated the Barcelona Pavilion into a potent and enduring picture of not just modern architecture , but modernity. I focus here on a small part of this larger story, the red curtain. [6] It was ostensibly integral to the interior architecture of the 1929 pavilion (designed by both Mies and Lily Reich) and is now one of the most visually striking aspects of the 1986 reconstruction. [7] I explore the potential meaning of its absence from the 01 02c 3a 3b
program - abstracts: Constructions / Identitites: Pavilions, Art, Architecture
Since the early 1990s, the Biennale of Architecture shares the national pavilions of the Giardini di Castello with the art exhibition. A legacy of 19th century World Fairs, the use of the pavilion as a site for exhibiting art and architecture becomes, during the 20th century, an issue of sensationalism in architecture, urban renewal and revision of national identity. Today, only World Fairs and the Venice art and architecture biennials have kept the national pavilions structure. In the case of the Venice Biennials, the system assumes particular connotations, firstly because of the situation in Venice, a "maquette-city" that is already an open-air architectural exhibition in itself, and secondly, because of the permanence of the national pavilions. Thus, in addition to showing the projects of the current edition, the Venice Biennale is also a living archive of architecture as a form of cultural production.
Inter Photo Arch, Congreso Internacional, inter-fotografía y arquitectura: interpretaciones; Inter Photo Arch, International Conference, inter-photography and architecture: interpretations, ed. Rubén A. Alcolea, Jorge Tárrago Mingo. Pamplona: Universidad de Navarra, 2016, 178–189.
“Without modern photography modern architecture could never have been ‘put across’” claimed the English architecture critic Philip Morton Shand in 1934. As he stated, photography had the power to spread modern architecture to a broad audience, and indeed its dissemination was largely due to modern photography and print culture. One of the key figures in the mediation of modern architecture in interwar Hungary was the architect Virgil Bierbauer, who between 1928 and 1942 edited the main platform of modernist architects in Hungary, the journal Tér és Forma (Space and Form). This richly illustrated magazine reported on modern architecture in a state-of-the-art manner, featuring both Hungarian and international examples as well as theoretical arguments. Bierbauer was in contact with architects and editors from all over the world, as can be traced through his vast correspondence preserved at the Hungarian Museum of Architecture in Budapest. This network of professionals shaped the way modern architecture was presented in the pages of the magazine. In my paper, I focus on the representation of international modern architecture in Tér és Forma while analysing Bierbauer’s editorial work. Professional networks, photographs and imaging strategies are all considered as means of communication that factored into the editing processes of the magazine. I consider Bierbauer’s role as an editor, architect and traveller and how these different guises were reflected in the magazine.
Civil Engineering and Architecture, 2020
The physical environment generates myriad of values and comprises various connotations. These values and connotations, which are directly or indirectly represented by the output, generate a sampling area to understand the production and consumption forms of the physical environment, of its cultural, social and economic priorities and contextual relations. Therefore, architecture is utilized as a tool to understand the historical transformations and relations in various disciplinary fields while architectural criticism tries to understand the architectural building process and its outcome by exceeding its professional boundaries and observing the relationships between different disciplines and architectures. Literature, art, philosophy, politics are alternative means of expression, which complement architectural criticism. In this context, architectural biennials perform as periodical discussion platforms, which perform as an alternative space for the criticism and documentation of the current issues of architectural production and its most dire problems through a selection of works under a certain theme. The works exhibited at the biennial use different tools of narration in various disciplinary bases in addition to architecture itself, and therefore create an environment for generating content and values with multiple inputs for discussions as well as concepts defining the architectural outcome. In this paper, it aimed to discuss and evaluate the accumulation of works exhibited at the biennial with various contextual and conceptual arguments and interpretations, and the boundaries of functionalization of biennial exhibitions as a platform for architecture criticism.
Exhibition pavilions have always offered a fertile ground for architectural experimentation. Aimed at a public eager to be bewildered and amply financed by nations or large enterprises competing for attention, the temporary nature of such pavilions invites for daring structural solutions, experimental building materials, and innovative spatial concepts. In the second half of the twentieth century, the role of these structures has shifted from a space of instruction and mass education to a multisensory environment, enhancing mental absorption and emotional involvement, the goal being to make the Sven Sterken trained in architectural engineering at the universities of Ghent, Paris, and Pretoria, and obtained a PhD in architectural history from the University of Ghent with a dissertation on the composer and architect Iannis Xenakis. He currently teaches at the Sint-Lucas School of Architecture (Brussels/ Ghent) and is associated with the architecture department of the University of Leuven. sven.sterken@architectuur. sintlucas.wenk.be Interiors Sven Sterken underlying commercial, political or artistic message pass more easily -sometimes even unnoticed. This article discusses a couple of cases that are illustrative for this evolution, namely the Philips Pavilion at the Brussels World Fair in 1958 and the German and Pepsi Pavilions at EXPO 70 in Osaka. What links these projects is a tendency towards dematerialization, as if the physical aspect of building forms an obstacle in the realization of a fully immersive environment. In this view, media technologies appear as a-tectonic avatars, opposing "real" and "artificial" space as mutually exclusive. However, the case of the Diatope, a multimedia pavilion realized by Iannis Xenakis in 1978, illustrates that, instead of maintaining this rupture, architecture can also act as an interface between real and artificial spaces, thus enabling their simultaneous existence.
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.
An Inquiry into the Design and Aesthetics of the Venice Biennale Pavilions
The International Journal of the Constructed Environment, 2011
Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian Pavilion and the British Pavilion at the 53rd Venice Biennale of Art, question the architecture of the pavilion in general in the constructed environment of the Giardini. Is the architecture used as a container of art or the architectural form, the container itself, to be interpreted as art? Their films are about the places in which they are shot and displayed: the pavilions themselves, the containers of art, which are transformed through the films into architectural sculpture/art objects. Arguably, Margreiter's and McQueen's film reveal the extent to which the modern language of architecture of the Venice pavilions, frozen in 'space' (within the boundary of the Giardini) and 'time' (still contemporary from the date of their realization), seem to conjure that particular primordial 'timelessness' which can be valued as one of the main attributes of contemporary architecture in general. These "kaleidoscopic spaces" which are used to haunt our memory are used to stimulate the ontological role of imagination-creating a new experience of the universe via the pavilion.