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Leading art historians, architects, designers, artists, and
urbanists share new perspectives on this visionary architect's
material legacy Lina Bo Bardi (1914-1992) is renowned for her
boldly modernist designs like the Sao Paulo Museum of Art and the
culture and leisure center SESC Pompeia. An artist, architect,
designer, writer, and activist, she was a tireless champion for
local craft and materials. Her democratic designs were inclusive
and stood as an open invitation to those typically excluded from
elitist institutions, embodying an aesthetic that stood out among
the modernist movement in Brazil and abroad. This collection of
essays presents new perspectives on Bo Bardi from leading
contemporary artists, architects, curators, and scholars.
Contributors engage with the conceptual, social, and political
philosophies latent in the architectural materials she chose-from
her application of concrete to her implementation of nature and her
reuse of vernacular materials. Beautifully illustrated and
featuring seven gatefolds, Lina Bo Bardi: Material Ideologies sheds
vital new light on the ideological strategies inherent in Bo
Bardi's iconic projects and lesser-known work. Distributed for the
Princeton University School of Architecture
Are We Human? rethinks the philosophy of design in a
multi-dimensional exploration from the very first tools and
ornaments to the constant buzz of social media. The average day
involves the experience of thousands of layers of design that reach
to outside space but also reach deep into our bodies and brains.
Even the planet itself has been completely encrusted by design as a
geological layer. There is no longer an outside to the world of
design. Design has become the world. Design is what makes the
human. It is the very basis of social life. But design also
engineers inequalities and new forms of neglect, such as
lawlessness, poverty, and the climate at the same time as the human
genome and the weather are being actively redesigned. We can no
longer reassure ourselves with the idea of "good design." Design
itself needs to be redesigned.
This book explores the impact of medical discourse and diagnostic
technologies on the formation, representation, and reception of
modern architecture. It challenges the normal understanding of
modern architecture by proposing that the architecture of the early
twentieth century was shaped by the dominant medical obsession of
its time: tuberculosis and its primary diagnostic tool, the
X-ray.If architectural discourse has from its beginning associated
building and body, the body that it describes is the medical body,
reconstructed by each new theory of health. Modern architects pre-
sented their architecture as a kind of medical instrument for
protecting and enhancing the body. X-ray technology and modern
architecture were born around the same time and evolved in
parallel. While the X-ray exposed the inside of the body to the
public eye, the modern building unveiled its interior, inverting
the relationship between private and public.Colomina suggests that
if we want to talk about the state of the art in buildings, we
should look to the dominant obsessions about illness and the latest
techniques of imaging the body-and ask what effects they may have
on the way we conceive architecture.
The voices of thirty-six internationally active women architects
are heard through their own projects. This diverse panorama is
supplemented by essays on pioneering female architects, and
analyses that get to the bottom of the structural discrimination
against women architects. With Mona Bayr, Odile Decq, Elke
Delugan-Meissl, Julie Eizenberg, Manuelle Gautrand, Annette Gigon,
Silvia Gmür, Cristina Guedes, Melkan Gürsel, Itsuko Hasegawa,
Anna Heringer, Fabienne Hoelzel, Helle Juul, Karla Kowalski,
Anupama Kundoo, Anne Lacaton, Regine Leibinger, Dorte Mandrup,
Rozana Montiel, Kathrin Moore, Farshid Moussavi, Carme Pinós, Nili
Portugali, Paula Santos, Kazuyo Sejima, Annabelle Selldorf, Pavitra
Sriprakash, Siv Helene Stangeland, Brigitte Sunder-Plassmann, Lene
Tranberg, Billie Tsien, Elisa Valero, Natalie de Vries, Andrea
Wandel, Helena Weber, and Lu Wenyu.
In the immediate postwar years, a new type of modern architecture
emerges. Beatriz Colomina presents domesticity as a potent new
weapon in a changed architectural battlefield. This architecture
becomes the property of the middle-class consumer bombarded with
images of domestic bliss, a lifestyle campaign launched through
recycled military techniques. The significance of architects like
Charles and Ray Eames lies in their sensitivity to buildings and
images both defining space. Colomina is Director of Princeton
University's Architecture PhD program and acclaimed author of
"Privacy and Publicity" and "Sexuality and Space".
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New Jersey as Non-Site (Hardcover)
Kelly Baum; Contributions by Beatriz Colomina, Kathryn Dammers, Hal Foster, William Gleason, …
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“Best in Show” — 2014 AAM Museum Publications Design
Competition Between 1950 and 1975, some of the postwar era’s most
innovative artists flocked to a very unexpected place: New Jersey.
Appreciating what others tended to ignore or mock, they gravitated
to the state’s most desolate peripheries: its industrial
wastescapes, crumbling cities, crowded highways, and banal suburbs.
There they produced some of the most important work of their
careers. The breakthroughs in land, conceptual, performance, and
site-specific art that New Jersey helped catalyze are the subject
of New Jersey as Non-Site, whose title evokes the mixed-media
sculptures that Robert Smithson began to create in 1968 while
driving the state’s highways with Nancy Holt. This catalogue
examines more than 100 works by sixteen artists, including Amiri
Baraka, George Brecht, Dan Graham, Allan Kaprow, Gordon
Matta-Clark, and George Segal. Organized around three
themes—ruin, cooperation, and displacement—Kelly Baum’s essay
considers their work in relationship to seismic shifts in the world
of art and equally dramatic changes to New Jersey’s economy,
infrastructure, landscape, demography, and social stability.
Distributed for the Princeton University Art Museum Exhibition
Schedule: Princeton University Art Museum (10/05/13–01/04/14)
A wide-ranging and challenging exploration of design and how it
engages with the self The field of design has radically expanded.
As a practice, design is no longer limited to the world of material
objects but rather extends from carefully crafted individual styles
and online identities to the surrounding galaxies of personal
devices, new materials, interfaces, networks, systems,
infrastructures, data, chemicals, organisms, and genetic codes.
Superhumanity seeks to explore and challenge our understanding of
"design" by engaging with and departing from the concept of the
"self." This volume brings together more than fifty essays by
leading scientists, artists, architects, designers, philosophers,
historians, archaeologists, and anthropologists, originally
disseminated online via e-flux Architecture between September 2016
and February 2017 on the invitation of the Third Istanbul Design
Biennial. Probing the idea that we are and always have been
continuously reshaped by the artifacts we shape, this book asks:
Who designed the lives we live today? What are the forms of life we
inhabit, and what new forms are currently being designed? Where are
the sites, and what are the techniques, to design others? This
vital and far-reaching collection of essays and images seeks to
explore and reflect on the ways in which both the concept and
practice of design are operative well beyond tangible objects,
expanding into the depths of self and forms of life. Contributors:
Zeynep Celik Alexander, Lucia Allais, Shumon Basar, Ruha Benjamin,
Franco "Bifo" Berardi, Daniel Birnbaum, Ina Blom, Benjamin H.
Bratton, Giuliana Bruno, Tony Chakar, Mark Cousins, Simon Denny,
Keller Easterling, Hu Fang, Ruben Gallo, Liam Gillick, Boris Groys,
Rupali Gupte, Andrew Herscher, Tom Holert, Brooke Holmes, Francesca
Hughes, Andres Jaque, Lydia Kallipoliti, Thomas Keenan, Sylvia
Lavin, Yongwoo Lee, Lesley Lokko, MAP Office, Chus Martinez, Ingo
Niermann, Ahmet OEgut, Trevor Paglen, Spyros Papapetros, Raqs Media
Collective, Juliane Rebentisch, Sophia Roosth, Felicity D. Scott,
Jack Self, Prasad Shetty, Hito Steyerl, Kali Stull, Pelin Tan,
Alexander Tarakhovsky, Paulo Tavares, Stephan Truby, Etienne
Turpin, Sven-Olov Wallenstein, Eyal Weizman, Mabel O. Wilson, Brian
Kuan Wood, Liam Young, and Arseny Zhilyaev.
Through a series of close readings of two major figures of the
modern movement, Adolf Loos and Le Corbusier, Beatriz Colomina
argues that architecture only becomes modern in its engagement with
the mass media, and that in so doing it radically displaces the
traditional sense of space and subjectivity.Privacy and Publicity
boldly questions certain ideological assumptions underlying the
received view of modern architecture and reconsiders the
methodology of architectural criticism itself. Where conventional
criticism portrays modern architecture as a high artistic practice
in opposition to mass culture, Colomina sees the emerging systems
of communication that have come to define twentieth-century culture
-- the mass media -- as the true site within which modern
architecture was produced. She considers architectural discourse as
the intersection of a number of systems of representation such as
drawings, models, photographs, books, films, and advertisements.
This does not mean abandoning the architectural object, the
building, but rather looking at it in a different way. The building
is understood here in the same way as all the media that frame it,
as a mechanism of representation in its own right.With modernity,
the site of architectural production literally moved from the
street into photographs, films, publications, and exhibitions -- a
displacement that presupposes a new sense of space, one defined by
images rather than walls. This age of publicity corresponds to a
transformation in the status of the private, Colomina argues;
modernity is actually the publicity of the private. Modern
architecture renegotiates the traditional relationship between
public and private in a way that profoundly alters the experience
of space. In a fascinating intellectual journey, Colomina tracks
this shift through the modern incarnations of the archive, the
city, fashion, war, sexuality, advertising, the window, and the
museum, finally concentrating on the domestic interior that
constructs the modern subject it appears merely to house.
A wide-ranging and challenging exploration of design and how it
engages with the self The field of design has radically expanded.
As a practice, design is no longer limited to the world of material
objects but rather extends from carefully crafted individual styles
and online identities to the surrounding galaxies of personal
devices, new materials, interfaces, networks, systems,
infrastructures, data, chemicals, organisms, and genetic codes.
Superhumanity seeks to explore and challenge our understanding of
"design" by engaging with and departing from the concept of the
"self." This volume brings together more than fifty essays by
leading scientists, artists, architects, designers, philosophers,
historians, archaeologists, and anthropologists, originally
disseminated online via e-flux Architecture between September 2016
and February 2017 on the invitation of the Third Istanbul Design
Biennial. Probing the idea that we are and always have been
continuously reshaped by the artifacts we shape, this book asks:
Who designed the lives we live today? What are the forms of life we
inhabit, and what new forms are currently being designed? Where are
the sites, and what are the techniques, to design others? This
vital and far-reaching collection of essays and images seeks to
explore and reflect on the ways in which both the concept and
practice of design are operative well beyond tangible objects,
expanding into the depths of self and forms of life. Contributors:
Zeynep Celik Alexander, Lucia Allais, Shumon Basar, Ruha Benjamin,
Franco "Bifo" Berardi, Daniel Birnbaum, Ina Blom, Benjamin H.
Bratton, Giuliana Bruno, Tony Chakar, Mark Cousins, Simon Denny,
Keller Easterling, Hu Fang, Ruben Gallo, Liam Gillick, Boris Groys,
Rupali Gupte, Andrew Herscher, Tom Holert, Brooke Holmes, Francesca
Hughes, Andres Jaque, Lydia Kallipoliti, Thomas Keenan, Sylvia
Lavin, Yongwoo Lee, Lesley Lokko, MAP Office, Chus Martinez, Ingo
Niermann, Ahmet OEgut, Trevor Paglen, Spyros Papapetros, Raqs Media
Collective, Juliane Rebentisch, Sophia Roosth, Felicity D. Scott,
Jack Self, Prasad Shetty, Hito Steyerl, Kali Stull, Pelin Tan,
Alexander Tarakhovsky, Paulo Tavares, Stephan Truby, Etienne
Turpin, Sven-Olov Wallenstein, Eyal Weizman, Mabel O. Wilson, Brian
Kuan Wood, Liam Young, and Arseny Zhilyaev.
The expert contributors to this lavishly illustrated volume,
devoted entirely to Mies van der Rohe's Barcelona Pavilion of 1929,
address here for the first time the forgotten contexts of the
Pavilion's genesis. Habitually thought of as an abstract,
unpolluted, and splendidly isolated building--a precursor of Mies's
American period--the Pavilion is revealed here as a thoroughly
European work, perhaps less pristine but more authentic. Mies and
Lilly Reich were commissioned to design not only the Pavilion but
also more than one hundred thousand square feet of German stands
spread throughout the Exposition. By examining that work in
addition to the Pavilion itself, the contributors present a
farreaching reinterpretation of the whole. They also explore
connections with the mass media, highlight the work's antecedents
and meaning in the history of architecture, and analyze the current
pavilion, a reconstruction of the original built in 1986. No other
critical study offers a comparable overview of Mies's work in
Barcelona.
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