At the end of the late 1970s, art theorist and critic Rosalind
Krauss had written a seminal text entitled "Sculpture in the
Expanded Field," in an attempt to both locate and analyze vanguard
sculptural practices of the time such as the work of Richard Serra,
Robert Smithson, Mary Miss, and Donald Judd whose practices crossed
outside of the limits of traditional sculpture and entered into the
realms of architecture and landscape through the production of
works that she classified as site constructions, marked sites,
earthworks and axiomatic structures. Over the past three decades,
the boundaries between art and architecture have continued to blur,
giving rise to a series of works known as installations whose
conceptual, spatial and material trajectories have generated a new
and expanding network of relations between the domains of
architecture, interiors, sculpture and landscape. At the same time,
the range of institutional venues advancing architectural
installation practices, such as the PS1 program spawned by the MoMA
in New York, the Serpentine Gallery's annual architectural pavilion
in London and the Art and Architectural Biennale's in Venice, have
provided platforms to intensify the production and reach of
contemporary installations. Installations have not only contributed
to the advancement of architectural research but have also enabled
the redefinition and progressive development of architecture's
disciplinary territory allowing architects to explore spatial and
tectonic ideas, experiment with emerging technological strategies,
and distill perceptual and experiential conditions without the
limitations traditionally imposed by the permanence and utility of
building. Following the legacy of Rosalind Krauss, EXPANDED FIELD:
Installation Architecture Beyond Art by Ila Berman and Douglas
Burnham explores the realm of art and architecture across a broad
terrain of installation practices, revealing a critical territory
that, despite its exuberant proliferation, has been historically
defined as a negativity: the progeny of that which is both
not-architecture and not-art. Within this book, a wide range of art
and architectural works are positioned and mapped as constellations
within a newly expanded field suspended between Architecture,
Interiors, Sculpture, and Landscape. These four terms are the
initial reference points used to elaborate a more extensive
taxonomical framework defining twelve distinct territories where
the analytical drawings and photographic indexes of seventy-five
installation projects are situated. The expanded field diagram is a
conceptual framework that operates on many levels. It acts as a
lens through which to theorize and classify the trajectories of
current installation practices and serves as an infrastructure to
organize the content of the book. Along the trajectory from
interiors to sculpture, for example, one finds the immersive
chromatic environments of Carlos Cruz-Diez, the thermal and radiant
atmospheres of Philippe Rahm, the intensely graphic patterned
surfaces of Jurgen Mayer and Yayoi Kusama, and the interactive
mediated light landscapes of Ryoji Ikeda and Julio Le Parc. These
are installations intent on foregrounding immersive atmospheric
spaces rather than sculptural objects and that collectively define
Chromatic/Graphic Immersion, one of the twelve typologies through
which the book is organized. Along the path from interiors toward
landscape, are situated a different series of installation projects
including the undulating orange strata of Bamscape and the pink
spongy terrain of Mute Room, two works by Thom Faulders both of
which redefine ground as a programmed surface and occupiable
topography. These qualities of landscape then merge with the
architectonic in the thickened geology of Rip Curl Canyon by
Ball-Nogues, the artificial Dunescape by SHoP and the cellular
topography of Voromuro developed for the ICA in Boston by Office
dA. Based on an exhibition at the Wattis Institute of Contemporary
Art, the book EXPANDED FIELD guides one through the world of
contemporary installation practice through drawings, images and
text that simultaneously expose the techniques through which
architects describe and analyze spatial production while providing
a context for installation art and architecture that supports both
its didactic understanding and immersive experience.
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