Barbara Gallucci's installation "Utopiary Terrace" at deCordova Sculpture Park and Museum references manicured lawns and manufactured landscapes. It consists of beanbag chairs covered in fake grass and a three-tiered cork platform. The work comments on the desire to control nature and references Modernist architecture. It is inspired by Michael Pollan's essay criticizing uniform lawns as a metaphor for humanity's attempt to dominate nature. Gallucci's work examines the relationship between design, culture, and notions of utopia.
This document contains information about several projects:
1. A FabLab project that combines hands-on making with more conceptual education represented by floating cloud-like structures.
2. A Periscope Project exhibition center in Louisiana that allows visitors to simultaneously view an area from above and within through the use of periscopes.
3. A Marfa Museum in Texas to display a visiting artist's work in keeping with the minimalist style of the late artist Donald Judd for whom the town was preserved.
4. A faux forest habitat built to display a Dale Chihuly glass sculpture as intended, recreating its natural environment indoors.
The document summarizes and analyzes several experimental housing designs from the 1950s-1960s, including the House of the Future by Alison and Peter Smithson from 1956. It contrasts this design with projects by the Archigram group, noting how the Smithsons sought to establish continuity of space through materials while still investigating the influence of mass culture, whereas groups like Archigram embraced a full merger with mass culture. The document also examines subsequent housing experiments by the Smithsons called Appliance Houses from 1957-1958 that further explored how household appliances were shaping domestic architecture.
El estudiante desea estudiar trabajo social para ayudar a las personas a superarse a sí mismas y hacer un cambio positivo en la sociedad. El trabajo social permite desarrollarse como persona y trabajar en diversas áreas como salud, educación, vivienda y con poblaciones vulnerables como personas con discapacidad o en exclusión social. Se requiere sensibilidad social, actitud crítica y habilidades para el trabajo en equipo.
Este documento presenta las principales técnicas de comunicación escrita como la narrativa, descriptiva, expositiva y dialogada. Explica los elementos de cada una y provee ejemplos de su aplicación. También define el resumen, informe y ensayo, describiendo sus características, procesos de elaboración y elementos estructurales. El objetivo es proveer una guía sobre diferentes formas de redacción y comunicación escrita.
This document contains information about several projects:
1. A FabLab project that combines hands-on making with more conceptual education represented by floating cloud-like structures.
2. A Periscope Project exhibition center in Louisiana that allows visitors to simultaneously view an area from above and within through the use of periscopes.
3. A Marfa Museum in Texas to display a visiting artist's work in keeping with the minimalist style of the late artist Donald Judd for whom the town was preserved.
4. A faux forest habitat built to display a Dale Chihuly glass sculpture as intended, recreating its natural environment indoors.
The document summarizes and analyzes several experimental housing designs from the 1950s-1960s, including the House of the Future by Alison and Peter Smithson from 1956. It contrasts this design with projects by the Archigram group, noting how the Smithsons sought to establish continuity of space through materials while still investigating the influence of mass culture, whereas groups like Archigram embraced a full merger with mass culture. The document also examines subsequent housing experiments by the Smithsons called Appliance Houses from 1957-1958 that further explored how household appliances were shaping domestic architecture.
El estudiante desea estudiar trabajo social para ayudar a las personas a superarse a sí mismas y hacer un cambio positivo en la sociedad. El trabajo social permite desarrollarse como persona y trabajar en diversas áreas como salud, educación, vivienda y con poblaciones vulnerables como personas con discapacidad o en exclusión social. Se requiere sensibilidad social, actitud crítica y habilidades para el trabajo en equipo.
Este documento presenta las principales técnicas de comunicación escrita como la narrativa, descriptiva, expositiva y dialogada. Explica los elementos de cada una y provee ejemplos de su aplicación. También define el resumen, informe y ensayo, describiendo sus características, procesos de elaboración y elementos estructurales. El objetivo es proveer una guía sobre diferentes formas de redacción y comunicación escrita.
Este documento presenta un proyecto sobre basura electrónica realizado por un grupo de ambientalistas. Explica que la basura electrónica contamina el medio ambiente y propone soluciones como donar, reparar o reciclar aparatos electrónicos en lugar de desecharlos. El objetivo final es concientizar sobre la necesidad de cuidar el medio ambiente y no contaminarlo con residuos tecnológicos.
La Fundación Universitaria del Área Andina presentó estadísticas de casos entre 1993 y 2004, incluyendo gráficas para el análisis de los casos por período y los diagnósticos encontrados.
Greece has a population of over 11 million people and its capital and largest city is Athens. Some of Greece's most famous historical figures include Alexander the Great, Socrates, and Aristotle. Today, Greece is known for its mountainous landscapes, over 6,000 islands in the Aegean and Ionian Seas, and World Heritage sites like the Acropolis and Delphi. Greek cuisine features dishes like souvlaki, moussakas, Greek salad and tzatziki.
Italy has a population of around 60 million people and its capital and largest city is Rome. Some of Italy's most famous historical figures include Julius Caesar, Michelangelo, and Christopher Columbus. In modern times, well-known Italians include Sophia Loren, Roberto Benigni, and Luciano Pavarotti. Italy is known for iconic landmarks like the Colosseum, Leaning Tower of Pisa, and St. Peter's Basilica. The country also has a variety of landscapes from mountains to beaches. Italian cuisine is renowned, especially dishes like pizza, pasta, and lasagna, along with wines.
Lithuania's capital is Vilnius and its currency is the Euro. Some famous Lithuanians in the past include King Mindaugas, composer Mikalojus Konstantinas Čiurlionis, and basketball player Arvydas Sabonis. Current famous Lithuanians are President Dalia Grybauskaite and Olympic champion Ruta Meilutyte. Popular tourist sites include Gediminas’ Tower, the Cathedral of Vilnius, Gates of Dawn, and Trakai Castle. Lithuania has a landscape of forests and lakes without mountains. Famous monuments include the Gediminas Statue and Kaunas Castle. Traditional foods consist of potato dumplings called cepelinai, cold
The document discusses spiritual warfare and putting on the full armor of God. It explains that our struggle is not against human enemies but against spiritual forces of evil. It analyzes Ephesians 6:10-12, describing how we must be strong in God's power and put on his armor so we can stand against Satan's schemes. The armor includes the belt of truth, breastplate of righteousness, shoes of peace, shield of faith, helmet of salvation, and sword of the spirit. The document emphasizes taking every thought captive to obey Christ to win spiritual battles.
Este documento presenta un contrato para que los estudiantes de 2o grado se conviertan en caballeros y damas de la Edad Media. El contrato establece una serie de normas que los estudiantes deben seguir, como ayudarse mutuamente, ser respetuosos, estudiar duro y cumplir con las instrucciones de la maestra para superar varias "batallas" y convertirse en los caballeros más poderosos de la escuela.
A6 maths' tasks about travelling - from Cypruselenitsagari
Katia and Nicolas traveled to Krakow, Poland for Christmas. They walked through the old town and had lunch at a traditional Polish restaurant, where they tried various Polish dishes including soups, dumplings, and stuffed cabbage rolls. They then bought souvenirs for their classmates. The document provides recipes and activities related to travel, food, and math word problems involving currency conversion and counting items.
The document discusses the Leg Splint designed by Charles and Ray Eames during World War II for the U.S. Navy. The Eames were commissioned to create a lightweight splint that was more comfortable for wounded soldiers. Their solution used molded plywood, which allowed compound curves that were flexible but strong. Mastering this molding technique led directly to their influential molded plastic chairs and other mid-century designs. The leg splint pioneered a new approach to furniture design focused on ergonomics, materials, and mass production.
Postmodern architecture emerged in the 1950s as an international style that rejected the minimalism and functionalism of modernism in favor of ornamentation, stylistic eclecticism, and references to historical elements. It became a movement in the late 1970s that continues to influence today's architecture. Postmodern buildings feature diverse aesthetics where styles collide and forms are adopted for their own visual interest over strict functionality. Key figures like Robert Venturi promoted this approach through works like the Vanna Venturi House, which challenged modernist orthodoxy through its manipulated scale and symbolic elements. Experimental groups like Archigram proposed futuristic visions through hypothetical mega-structures and mobile cities that embraced technology and consumerism.
The Kimbell Art Museum in Fort Worth, Texas, designed by Louis Kahn, exemplifies his principles of monumentality and the play of natural light. The museum consists of 16 parallel barrel vaults grouped into three wings, which allow daylight to enter and illuminate the interior galleries through narrow slits. Kahn used concrete, wood, and travertine to achieve a warm, inviting atmosphere. The vaulted structure appears to float on pillars, and the landscaping further enhances the visitor experience. The museum demonstrates Kahn's masterful use of form and natural light to create a work of architectural art.
Introduction to Art Chapter 31 Postmodernity and Global CultTatianaMajor22
Introduction to Art Chapter 31: Postmodernity and Global Cultures 448
Chapter 31: Postmodernity and Global
Cultures
“Getting” Contemporary Art
It’s ironic that many people say they don’t “get” contemporary art because, unlike Egyptian tomb
painting or Greek sculpture, art made since 1960 reflects our own recent past. It speaks to the
dramatic social, political and technological changes of the last 50 years, and it questions many of
society’s values and assumptions—a tendency of postmodernism, a concept sometimes used to
describe contemporary art. What makes today’s art especially challenging is that, like the world
around us, it has become more diverse and cannot be easily defined through a list of visual
characteristics, artistic themes or cultural concerns.
Minimalism and Pop Art paved the way for later artists to explore questions about the conceptual
nature of art, its form, its production, and its ability to communicate in different ways. In the late
1960s and 1970s, these ideas led to a “dematerialization of art,” when artists turned away from
painting and sculpture to experiment with new formats including photography, film and video,
performance art, large-scale installations and earth works. Although some critics of the time
foretold “the death of painting,” art today encompasses a broad range of traditional and
experimental media, including works that rely on Internet technology and other scientific
innovations.
John Baldessari, I Will Not Make Any More Boring Art, 1971, lithograph, 22-7/16 x 30-1/16″ (The Museum of Modern
Art). Copyright John Baldessari, courtesy of the artist.
Introduction to Art Chapter 31: Postmodernity and Global Cultures 449
Contemporary artists continue to use a varied vocabulary of abstract and representational forms
to convey their ideas. It is important to remember that the art of our time did not develop in a
vacuum; rather, it reflects the social and political concerns of its cultural context. For example,
artists like Judy Chicago, who were inspired by the feminist movement of the early 1970s,
embraced imagery and art forms that had historical connections to women.
In the 1980s, artists appropriated the style and methods of mass media advertising to investigate
issues of cultural authority and identity politics. More recently, artists like Maya Lin, who
designed the Vietnam Veterans’ Memorial Wall in Washington D.C., and Richard Serra, who was
loosely associated with Minimalism in the 1960s, have adapted characteristics of Minimalist art
to create new abstract sculptures that encourage more personal interaction and emotional
response among viewers.
These shifting strategies to engage the viewer show how contemporary art’s significance exists
beyond the object itself. Its meaning develops from cultural discourse, interpretation and a range
of individual understandings, in addition to the formal and conceptual problems that first
motivated the artist ...
The document discusses the impact of European architects who emigrated to the United States in the 1930s and 1940s due to World War II, known as the "diaspora". It argues that while they were seen as revolutionizing American architecture with new ideas like the Bauhaus style, in reality they were concluding earlier anti-academic movements from Europe. Their "functionalism" was more of an ideology than a real focus on technology and economics. Additionally, their designs in the U.S. were often poor imitations of their earlier European work. While their ideas influenced architectural education, they had less impact on actual building design than initially thought.
POPULAR ARCHITECTURE AMONG VERNACULAR AND ERUDITE CONTEXTS pedro fonseca jorge
Abstract: In our present and contemporary architectural context abstractionism as become the face of a theoretical crisis where words seem to be the main form of communicating visually incomprehensible shapes. Therefore we need to search for a more figurative architecture based upon our landscape's features, making it necessary to proceed to Typological researches about our built surroundings. Rural housing has been a forgotten research field, as people tend to pay more attention to dense fabrics, but that doesn't mean that heritage can't be found in rural contexts. In this way to study rural architecture is to include Types of architecture that may or may not include features from other cultures than their own. This paper will try to define the features that define these Types, according to the contexts of Vernacular architecture (when there are no more references than the culture where it is produced) and Popular Architecture (where Signs or Significances have been brought from different contexts, being them Vernacular, Popular or Erudite).
The document provides an overview of modernist and postmodernist approaches in landscape design from the late 19th century to the late 20th century. It describes how modernist landscapes rejected traditional styles and embraced functionalism, anti-axial designs, and use of new materials. Key modernist designers like Thomas Church, Dan Kiley, and Lawrence Halprin are discussed. Postmodernist landscapes introduced historic motifs and references to challenge modernism, making designs more conceptual and exploring ideas of framing and experiencing nature. The document also outlines trends in the 20th century like the influence of art movements and focus on site conditions, ecology, and sense of community in designs.
This document summarizes an academic article about how theories of everyday life have influenced the fields of architecture and architectural history. It discusses how architects have long sought to establish their profession by differentiating architectural works from ordinary or vernacular buildings. Theories of everyday life, beginning with Henri Lefebvre's work, have helped architectural thinkers examine everyday spaces and critique trends toward commercialization and standardization in the built environment. However, theories of the everyday have also reinforced dichotomous thinking about architecture and landscapes. The document argues for an alternative perspective grounded in the materiality and bodily experiences of everyday spaces.
The document provides details about various projects in Jessica Wu's portfolio, including case studies of Carlo Scarpa's Castelvecchio restoration and Philip Johnson's Glass House, as well as projects focused on sustainable design, renovating a space in Boston, designing sets for an opera, and exploring the Danish concept of "hygge". It includes descriptions of each project, inspiration, design approaches, and renderings or drawings related to the work.
Comparison Of Post-Modernism And The Modern MovementDeborah Gastineau
The document compares post-modernism and modern architecture. Post-modernism rejects endless repetition and welcomes new individualized designs. It emphasizes communication between architecture and humans, conveying ironic or critical messages. Emotional needs are as important as physical needs. Contrary to modernism which focused only on function, post-modernism considers pluralism and cultural variety.
Este documento presenta un proyecto sobre basura electrónica realizado por un grupo de ambientalistas. Explica que la basura electrónica contamina el medio ambiente y propone soluciones como donar, reparar o reciclar aparatos electrónicos en lugar de desecharlos. El objetivo final es concientizar sobre la necesidad de cuidar el medio ambiente y no contaminarlo con residuos tecnológicos.
La Fundación Universitaria del Área Andina presentó estadísticas de casos entre 1993 y 2004, incluyendo gráficas para el análisis de los casos por período y los diagnósticos encontrados.
Greece has a population of over 11 million people and its capital and largest city is Athens. Some of Greece's most famous historical figures include Alexander the Great, Socrates, and Aristotle. Today, Greece is known for its mountainous landscapes, over 6,000 islands in the Aegean and Ionian Seas, and World Heritage sites like the Acropolis and Delphi. Greek cuisine features dishes like souvlaki, moussakas, Greek salad and tzatziki.
Italy has a population of around 60 million people and its capital and largest city is Rome. Some of Italy's most famous historical figures include Julius Caesar, Michelangelo, and Christopher Columbus. In modern times, well-known Italians include Sophia Loren, Roberto Benigni, and Luciano Pavarotti. Italy is known for iconic landmarks like the Colosseum, Leaning Tower of Pisa, and St. Peter's Basilica. The country also has a variety of landscapes from mountains to beaches. Italian cuisine is renowned, especially dishes like pizza, pasta, and lasagna, along with wines.
Lithuania's capital is Vilnius and its currency is the Euro. Some famous Lithuanians in the past include King Mindaugas, composer Mikalojus Konstantinas Čiurlionis, and basketball player Arvydas Sabonis. Current famous Lithuanians are President Dalia Grybauskaite and Olympic champion Ruta Meilutyte. Popular tourist sites include Gediminas’ Tower, the Cathedral of Vilnius, Gates of Dawn, and Trakai Castle. Lithuania has a landscape of forests and lakes without mountains. Famous monuments include the Gediminas Statue and Kaunas Castle. Traditional foods consist of potato dumplings called cepelinai, cold
The document discusses spiritual warfare and putting on the full armor of God. It explains that our struggle is not against human enemies but against spiritual forces of evil. It analyzes Ephesians 6:10-12, describing how we must be strong in God's power and put on his armor so we can stand against Satan's schemes. The armor includes the belt of truth, breastplate of righteousness, shoes of peace, shield of faith, helmet of salvation, and sword of the spirit. The document emphasizes taking every thought captive to obey Christ to win spiritual battles.
Este documento presenta un contrato para que los estudiantes de 2o grado se conviertan en caballeros y damas de la Edad Media. El contrato establece una serie de normas que los estudiantes deben seguir, como ayudarse mutuamente, ser respetuosos, estudiar duro y cumplir con las instrucciones de la maestra para superar varias "batallas" y convertirse en los caballeros más poderosos de la escuela.
A6 maths' tasks about travelling - from Cypruselenitsagari
Katia and Nicolas traveled to Krakow, Poland for Christmas. They walked through the old town and had lunch at a traditional Polish restaurant, where they tried various Polish dishes including soups, dumplings, and stuffed cabbage rolls. They then bought souvenirs for their classmates. The document provides recipes and activities related to travel, food, and math word problems involving currency conversion and counting items.
The document discusses the Leg Splint designed by Charles and Ray Eames during World War II for the U.S. Navy. The Eames were commissioned to create a lightweight splint that was more comfortable for wounded soldiers. Their solution used molded plywood, which allowed compound curves that were flexible but strong. Mastering this molding technique led directly to their influential molded plastic chairs and other mid-century designs. The leg splint pioneered a new approach to furniture design focused on ergonomics, materials, and mass production.
Postmodern architecture emerged in the 1950s as an international style that rejected the minimalism and functionalism of modernism in favor of ornamentation, stylistic eclecticism, and references to historical elements. It became a movement in the late 1970s that continues to influence today's architecture. Postmodern buildings feature diverse aesthetics where styles collide and forms are adopted for their own visual interest over strict functionality. Key figures like Robert Venturi promoted this approach through works like the Vanna Venturi House, which challenged modernist orthodoxy through its manipulated scale and symbolic elements. Experimental groups like Archigram proposed futuristic visions through hypothetical mega-structures and mobile cities that embraced technology and consumerism.
The Kimbell Art Museum in Fort Worth, Texas, designed by Louis Kahn, exemplifies his principles of monumentality and the play of natural light. The museum consists of 16 parallel barrel vaults grouped into three wings, which allow daylight to enter and illuminate the interior galleries through narrow slits. Kahn used concrete, wood, and travertine to achieve a warm, inviting atmosphere. The vaulted structure appears to float on pillars, and the landscaping further enhances the visitor experience. The museum demonstrates Kahn's masterful use of form and natural light to create a work of architectural art.
Introduction to Art Chapter 31 Postmodernity and Global CultTatianaMajor22
Introduction to Art Chapter 31: Postmodernity and Global Cultures 448
Chapter 31: Postmodernity and Global
Cultures
“Getting” Contemporary Art
It’s ironic that many people say they don’t “get” contemporary art because, unlike Egyptian tomb
painting or Greek sculpture, art made since 1960 reflects our own recent past. It speaks to the
dramatic social, political and technological changes of the last 50 years, and it questions many of
society’s values and assumptions—a tendency of postmodernism, a concept sometimes used to
describe contemporary art. What makes today’s art especially challenging is that, like the world
around us, it has become more diverse and cannot be easily defined through a list of visual
characteristics, artistic themes or cultural concerns.
Minimalism and Pop Art paved the way for later artists to explore questions about the conceptual
nature of art, its form, its production, and its ability to communicate in different ways. In the late
1960s and 1970s, these ideas led to a “dematerialization of art,” when artists turned away from
painting and sculpture to experiment with new formats including photography, film and video,
performance art, large-scale installations and earth works. Although some critics of the time
foretold “the death of painting,” art today encompasses a broad range of traditional and
experimental media, including works that rely on Internet technology and other scientific
innovations.
John Baldessari, I Will Not Make Any More Boring Art, 1971, lithograph, 22-7/16 x 30-1/16″ (The Museum of Modern
Art). Copyright John Baldessari, courtesy of the artist.
Introduction to Art Chapter 31: Postmodernity and Global Cultures 449
Contemporary artists continue to use a varied vocabulary of abstract and representational forms
to convey their ideas. It is important to remember that the art of our time did not develop in a
vacuum; rather, it reflects the social and political concerns of its cultural context. For example,
artists like Judy Chicago, who were inspired by the feminist movement of the early 1970s,
embraced imagery and art forms that had historical connections to women.
In the 1980s, artists appropriated the style and methods of mass media advertising to investigate
issues of cultural authority and identity politics. More recently, artists like Maya Lin, who
designed the Vietnam Veterans’ Memorial Wall in Washington D.C., and Richard Serra, who was
loosely associated with Minimalism in the 1960s, have adapted characteristics of Minimalist art
to create new abstract sculptures that encourage more personal interaction and emotional
response among viewers.
These shifting strategies to engage the viewer show how contemporary art’s significance exists
beyond the object itself. Its meaning develops from cultural discourse, interpretation and a range
of individual understandings, in addition to the formal and conceptual problems that first
motivated the artist ...
The document discusses the impact of European architects who emigrated to the United States in the 1930s and 1940s due to World War II, known as the "diaspora". It argues that while they were seen as revolutionizing American architecture with new ideas like the Bauhaus style, in reality they were concluding earlier anti-academic movements from Europe. Their "functionalism" was more of an ideology than a real focus on technology and economics. Additionally, their designs in the U.S. were often poor imitations of their earlier European work. While their ideas influenced architectural education, they had less impact on actual building design than initially thought.
POPULAR ARCHITECTURE AMONG VERNACULAR AND ERUDITE CONTEXTS pedro fonseca jorge
Abstract: In our present and contemporary architectural context abstractionism as become the face of a theoretical crisis where words seem to be the main form of communicating visually incomprehensible shapes. Therefore we need to search for a more figurative architecture based upon our landscape's features, making it necessary to proceed to Typological researches about our built surroundings. Rural housing has been a forgotten research field, as people tend to pay more attention to dense fabrics, but that doesn't mean that heritage can't be found in rural contexts. In this way to study rural architecture is to include Types of architecture that may or may not include features from other cultures than their own. This paper will try to define the features that define these Types, according to the contexts of Vernacular architecture (when there are no more references than the culture where it is produced) and Popular Architecture (where Signs or Significances have been brought from different contexts, being them Vernacular, Popular or Erudite).
The document provides an overview of modernist and postmodernist approaches in landscape design from the late 19th century to the late 20th century. It describes how modernist landscapes rejected traditional styles and embraced functionalism, anti-axial designs, and use of new materials. Key modernist designers like Thomas Church, Dan Kiley, and Lawrence Halprin are discussed. Postmodernist landscapes introduced historic motifs and references to challenge modernism, making designs more conceptual and exploring ideas of framing and experiencing nature. The document also outlines trends in the 20th century like the influence of art movements and focus on site conditions, ecology, and sense of community in designs.
This document summarizes an academic article about how theories of everyday life have influenced the fields of architecture and architectural history. It discusses how architects have long sought to establish their profession by differentiating architectural works from ordinary or vernacular buildings. Theories of everyday life, beginning with Henri Lefebvre's work, have helped architectural thinkers examine everyday spaces and critique trends toward commercialization and standardization in the built environment. However, theories of the everyday have also reinforced dichotomous thinking about architecture and landscapes. The document argues for an alternative perspective grounded in the materiality and bodily experiences of everyday spaces.
The document provides details about various projects in Jessica Wu's portfolio, including case studies of Carlo Scarpa's Castelvecchio restoration and Philip Johnson's Glass House, as well as projects focused on sustainable design, renovating a space in Boston, designing sets for an opera, and exploring the Danish concept of "hygge". It includes descriptions of each project, inspiration, design approaches, and renderings or drawings related to the work.
Comparison Of Post-Modernism And The Modern MovementDeborah Gastineau
The document compares post-modernism and modern architecture. Post-modernism rejects endless repetition and welcomes new individualized designs. It emphasizes communication between architecture and humans, conveying ironic or critical messages. Emotional needs are as important as physical needs. Contrary to modernism which focused only on function, post-modernism considers pluralism and cultural variety.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docxkenjordan97598
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
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Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
Roberley Bell is a sculptor who explores the relationship between nature and culture through her artwork. She is fascinated by windows as framing devices that separate the interior and exterior. In her new installation at deCordova Sculpture Park and Museum, The Shape of the Afternoon, Bell transforms the rooftop terrace into a colorful artificial gardenscape made of astroturf, sculptures, and fake plants to blur the lines between interior and exterior spaces. Through her lush and whimsical works that combine real and artificial elements of nature, Bell questions our conceptions of natural environments.
The idea of the City in the Social Housing experience throughout the past cen...pedro fonseca jorge
We can say that social housing was a big part of all the architectural experience of the last century, since it had the responsibility of partially or totally (according to some) solve a housing problem that, more than physical, was also social and political.
Architects and Urban planners work hardly in the search of solutions that would face the pre-existing problems of housing in the traditional city, as the result of an uncontrollable industrial growth, among others. Their solutions varied according to their intentions and their ideological purposes, and different proposals were made in order to solve the same problem: to dignify the urban living of the lower classes, the ones that most suffered from housing shortage and speculation.
Although different and specific, we can gather most of the experiences in three categories, the first two attempting to overcome the traditional city by a) creating a disperse organism according to a scale and spatial solutions dear to previous urban settlements, or b) inventing a condensed city as part of an infinite modern system. Finally, the last group includes c) the rehabilitation of the traditional city fabric by surgical or large interventions.
The idea of the paper is not to offer a critical review of the different ‘cities’, or even to make a choice, among them, of the perfect settlement, but just to present different solutions supported by various case-studies, pointing flaws and successes, demystifying misconceived ideas or supporting others. Here, more than answers will be offered tools of evaluation for present and future proposal of architects and urban planners.
Jean Baudrillard was a French philosopher known for his ideas around simulations and simulacra in a postmodern environment. Some of his most important works that explored these concepts included "Simulacra and Simulations" and "Utopia Deferred." He believed that with advances in media and technology, simulated versions of reality could become indistinguishable from actual reality, resulting in a "hyperreality." Baudrillard used Disneyland as an example of how an imaginary space aims to mask the fact that reality is no longer real through heightened simulations. His work has been influential in understanding the effects of postmodernism and how it can alter perceptions of media and the world.
Aldo Cibic, l’ospitalità come riappropriazione di nuove porzioni di spazio. E di tempo.
“Microrealities.org”, “Living nature”, “Vista con camera”, “Turismo in punta di piedi”: l’attività progettuale di Aldo Cibic non è solo proposta visionaria di suggestivi concept. È un ripensamento dello spazio e del tempo per cui i suburbia rivivono come parchi rurali attrezzati, le stagioni naturali dettano ritmi di vita, la qualità dell’esperienza è alta anche per un breve week-end. Nel rispondere alla domanda: “come vorrei vivere se dovessi partire da zero?” Si approda al concetto di “a new lifestyle in a sustainable community”.
This project was an attempt to investigate the art museum as an specific building type as well as the issues involved in the design of spaces for contemporary art. As every architectonic object, art museums are deeply connected with the functions they must fulfil and must act on the user as a stimulus which requires a behaviour response.*
According to Michel Foucault museums are sites that have the curious property of being in relation with all other sites, but in such a way as to suspend, neutralize, or invert the set of relations that they happen to designate, mirror or reflect. The museum space is capable of juxtaposing in a single space several sites that are in themselves incompatible . Its space begins to function at full capacity when men arrive at a sort of absolute break with their traditional idea of time.
Designing a new museum requires a strong concept. An art museum should never be made as a neutral, weak thing. It should be made new and passionate. The museum space should create possibilities for the unpredictable. A space that is inspired, unconventional, unafraid of taking risks, humorous, provocative and spontaneous.
The new museum shouldn’t be there to train people how to answer but how to question. That what’s the new museum is for.
* Umberto Eco, taken from ’How an Exposition Exposes Itself’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.202.
Michel Foucault, Taken from ‘Of Other Spaces: Utopias and Heterotopias’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.15.
Patrick Healy, Beauty And The Sublime, SUN Publishers, Amsterdam 2003
The document discusses two famous museums designed by famous architects - the Guggenheim Museum Bilbao designed by Frank Gehry, and the Solomon R. Guggenheim Museum in New York City designed by Frank Lloyd Wright. It provides background on how the Guggenheim Museum Bilbao came to be built in a former industrial wasteland in Bilbao, Spain, and highlights how Gehry's distinctive architecture made use of unusual shapes and angles. It also briefly mentions Wright's design of the original Guggenheim Museum in New York City.
Toward an understanding of sculpture as public artKhairulEzani78
This document discusses the role of sculpture as public art. It begins by defining public art as works created for public spaces, as opposed to private collections, and intended to foster shared community meanings. The document then focuses on sculpture as a common form of public art that exists in many cultures. It discusses how sculpture and architecture both differ from other arts in their permanence within public spaces. The document examines examples like the Parthenon and Eiffel Tower to illustrate how public sculpture can represent civic ideals and events. It also notes how concepts of public art, space, and sphere have expanded with developments like electronic media and cyber art installations.
This document provides an overview of post-modern architecture. It discusses how post-modernism emerged in the 1960s as a rejection of modernism's puritanical rules. Key figures like Robert Venturi argued for complexity and contradiction over simplicity. The document profiles several prominent post-modern architects like Venturi, Philip Johnson, Charles Moore, Michael Graves, and Frank Gehry. It examines some of their notable works and how they incorporated historical references, ornamentation, and contextual designs.
This document provides a summary of the book "Contemporary World Architecture" by Hugh Pearman. It discusses how the book comprehensively surveys international architecture at the turn of the new century, focusing on modern building types and the forces that shape them. It analyzes thirteen separate building categories and traces the pluralistic paths of architectural thinking from the 1970s to the start of the new millennium. The summary highlights how the book tells the evolving story of new forms and their underlying quest for aesthetic consensus during this time period.
2. “Mowing the lawn, I realized the first time I gazed into my neighbor’s yard
and imagined him gazing back into mine, is a civic responsibility.”
Michael Pollan, “Why Mow? The Case Against Lawns,” 1989
3. For PLATFORM 6, New York-based
artist Barbara Gallucci re-imagines
deCordova’s third-floor lobby as an
indoor landscape with her signature
blend of sculpture and design.
Comprised of “topiary” beanbag
chairs and a three-tiered cork-
covered terrace, Utopiary Terrace
is a fully functional installation that
references both manicured lawns
and the manufactured landscape
(fig. 1). It also reflects Gallucci’s
long-standing interest in the place
of nature in contemporary culture
and how Modernist design helped
shape that relationship. Installed in a
glass-enclosed area of the museum
that overlooks the 35-acre park,
Gallucci’s Utopiary Terrace addresses
deCordova’s site as an indoor and
outdoor venue for contemporary art,
following the over-arching theme of
the PLATFORM series.
Fig. 1: Utopiary Terrace, 2011, cotton shag chenille slipcovers, shredded recycled foam filler, plywood platforms, cork tile
Courtesy of the Artist and Carroll and Sons Gallery, Boston, MA
Photo by : CLEMENTS / HOWCROFT, Boston
barbara gallucci: utopiary terrace
4. “Topia,” according to Gallucci, is a word fragment derived partly
from the word utopia, an ideal but unattainable state which fueled
much of Modernist ideology of the early-twentieth century, and
topiary, an artificially sculpted landscape. The sculptures’ grass-like
chenille covering evokes a mass-produced notion of “nature” and
the human desire to control our environment. The cork-covered
platforms refer, in equal measure, to tiered, sculpted landscapes
and Modernist architecture which first used the durable and natural
material as floor covering—a prime example of which can be found
in the 1938 historic home of Modernist architect and Bauhaus
school founder, Walter Gropius, which is just down the road from
deCordova (fig. 2).
In Utopiary Terrace, we find nature “behaving” for culture; existing
for our pleasure, functioning to bring comfort. One might say
these sculptures are “in nature’s image,” but without the muss and
fuss of real life or lawns.
The lawn has a storied past in American history. In his seminal
essay “Why Mow? The Case Against Lawns,” writer Michael Pollan
tells the story of the lawn’s roots in civic idealism and democratic
aspirations. In the nineteenth century, Frederick Law Olmsted
carved and sculpted green space throughout the nation’s cities
with the intent of connecting and greening communal life. As
suburbia arose in the twentieth century, Pollan writes, “Like the
Fig. 2: Interior - 1938 Gropius House, Lincoln, Massachusetts
Courtesy of Historic New England
5. interstate highway system, like fast-food chains, like television,
the lawn has served to unify the American landscape; it is what
makes the suburbs of Cleveland and Tucson, the streets of
Eugene and Tampa, look more alike than not.”1
But what unifies can also restrict, and the ubiquity of the
perfectly manicured lawn can just as quickly become rigid
convention, squelching innovation and governing one’s
relationship to nature. “Lawns, I am convinced,” Pollan
concludes, “are a symptom of, and a metaphor for, our
skewed relationship to the land. They teach us that, with the
help of petrochemicals and technology, we can bend nature
to our will.”2
In Utopiary Terrace, Pollan’s essay provides Gallucci’s starting
point—conflating the social symbolism inherent in the modern-
day lawn with the conformity of the suburbs. But she fuses his
acute observation with a specific design history, which stems
from a long-standing interest in the relationship between design
and culture.
More recently, Pollan’s article has also spawned a movement
of sorts against the decorative function of the lawn. As the
politics and environmental impact of food distribution becomes
increasingly complicated and clearly harmful, the drive to eat
locally has shifted back into mainstream culture and the green
space of the lawn is now targeted property. Movements such
as Food not Lawns have sprouted in regional communities
to advocate for the growing of fruits and vegetables, not
grass, while artists such as Los Angeles-based Fritz Haeg have
taken private lawns as a material out of which to create/sculpt
sustainable food gardens.3
For Gallucci, the lawn presents a social/design problem that
she sees as the realm of sculpture. As an object, a sculpture
is always ‘of this world’—occupying space much like we do
(as opposed to a painting that lives in the discrete margins
“The belief that standardized
parts and modern manufacturing
techniques would make great
designs affordable to everyone
was the cornerstone of a utopian
template in which art and design
could cross class boundaries and
become the great social equalizer.”
6. Fig. 4: Untitled (crush), from the Insertions series, 2007
chromogenic print, 30 x 40 in.
of the wall). The question then presents itself, how does
this object work in the world? While for some, the sculpted
object remains a thing to be contemplated, Gallucci asks it
to be functional and to comment on its surroundings and
history. In Utopiary Terrace, the chairs and platform reflect
on deCordova’s rolling landscape—a carefully manicured,
cultivated landscape—in the form of comfortable, relaxing
seating to offer up, perhaps, another use of the lawn.
In 2002, Gallucci began to document this specific brand
of suburban conformity in Chicago Ranches, a series
of photographs of a 1960s-era Chicago neighborhood
(fig. 3). The images were all taken at identical viewpoints,
highlighting the manufactured, repetitive nature of homes,
while articulating their subtle differences—an off-kilter tree
or a flourish of a lighting fixture.4
Uniformly, each home in
the series is preceded by a carpet of green, neatly squared-
off grass that serves to clearly demarcate the line between
public and private space. The photographs make clear
Pollan’s observation that half a century later, the lawn’s
democratic nature has been turned into a yawning moat
before each ‘castle.’
Modernist design and architecture emerged in the early
twentieth century, most notably through Germany’s Bauhaus
and Russia’s Constructivist schools of thought and was born
Fig. 3:
Chicago Ranches: Red Light Pole, 2002
C-print, 20 x 30 in.
7. of democratic ideals that design should be for all through
modern, industrial materials that could be acquired with
little expense. Art and design, in this proposition, should be
of its time in every manner of speaking—from materials to
process—a marked break from the past. The major architects
and teachers of the movement stressed an economy of
form and truth in materials, producing such iconic structures
as Mies van der Rohe’s 1951 Farnsworth House, outside
of Chicago, and his 1958 Seagram Building in downtown
Manhattan, as well as more modest structures like Walter
Gropius’s 1938 home, here in Lincoln, Massachusetts.
The streamlined, industrial aesthetic of this radical movement
was absorbed very quickly into American corporate culture
and converted into what is now known as the International
style—a clean, consistent, safe look, rather than a bold, new
philosophy. The slab building that now fills most American
downtowns is the style’s most enduring icon. Gallucci’s
photographs of near-identical homes make visible the
connection between the ideas/ideals behind this period’s
design—of accessibility to all through uniform, modern means
and materials—and conformist American culture that has
since become synonymous with “Suburbia.”5
Following this theme of Modernism in the American lifestyle,
Gallucci continued with two other projects, another photo-
Fig. 3:
Chicago Ranches: Green Siding, 2002
C-print, 20 x 30 in.
8. graphic series of Levittown houses and sculptures of iconic
mid-century furniture.
Gallucci’s RANCH ’50 (The Levittown interiors), 2003, documents
one of the first modern, mass-produced housing communities in
the U.S. (fig. 4). Levittown, Long Island was constructed between
1947 and 1951 with 17,000 identical homes to accommodate the
housing needs of a post-war population explosion. Again, the
themes of repetition, functionality, and economy come into play
in the structures, and in Gallucci’s photography. She chose to
focus on an identical location in the 1950s-era homes—a space
left by an original built-in television set—the 1950 Admiral. As the
monitors turned obsolete, homeowners were faced with a hole in
their walls underneath the staircases. Gallucci documents these
spaces 50 years later and the radically different ways people
redesigned these once identical spaces. In this, she points to the
flaw in the concept of uniformity as an ideal. People, it seems,
may not want to be the same.
In addition to the photographs, Gallucci created a set of over-
scaled iconic Modernist furniture with basic Home Depot items,
to question the lingering mid-century idea of accessible design
and material in the 21st century. For instance, Le Corbusier’s
modular based furniture system—originally designed in leather
and chrome—was re-interpreted in plywood and aluminum pipe
at 50% larger size, in part, to emphasize the long shadow this
period still casts on sculpture today (fig. 5). In doing so, Gallucci
seeks, she explains, to “embody a ‘wrongness’ in scale and
aberrant materiality… . The belief that standardized parts and
modern manufacturing techniques would make great designs
affordable to everyone was the cornerstone of a utopian
template in which art and design could cross class boundaries
and become the great social equalizer. These objects directly
confront the optimism of 1950’s with a contemporary example
of what is now affordable: doing-it-yourself.”
In her photographs, sculptures, and installations, Gallucci
examines the intersections among sculpture, furniture, and
interior design, teasing out the incongruities of each legacy
through popular culture. Utopiary Terrace continues her interest
in exploring American culture within a context of design history
by fusing the materials of the suburban lawn (the grass-like
chenille) and mid-century architecture (the cork floor coverings)
into an interactive installation that conjoins the functionality of
furniture with the forms of sculpture. In doing so, she proposes
a fluidity between built and natural spaces, and between
architecture and the outdoors, that presents a new way for art
and design to function with and for our environment.
Dina Deitsch, Associate Curator of Contemporary Art
9. Fig. 4:
Ranch 50: Leon and Fran, 2003
Ranch 50: Marilyn, 2003
Ranch 50: Bob and Jess, 2003
All c-print, 20 x 24 in.
10. 1
Michael Pollan, “Why Mow? The Case Against Lawns,” The New York
Times Magazine, May 28, 1989.
2
Ibid.
3
See http://www.foodnotlawns.net/ and Fritz Haeg’s ongoing
project, Edible Estates at http://www.fritzhaeg.com/garden/initiatives/
edibleestates/main.html
4
The Ranch-style house that Gallucci captures here is a uniquely
American domestic architectural style. First built in the 1920s, the ranch
style was extremely popular amongst the booming post-war middle
class of the 1940s to 1970s. The style was used to build large neighbor-
hoods rapidly to serve the post-War population explosion and corre-
sponding demand for housing. As a result, entire neighborhoods of
identical or near identical houses emerged in this era.
5
Case in point: Eric Bogosian’s 1994 play and 1996 film SubUrbia,
an account of a group of aimless 20-somethings as they spend a day
and night in a 7-11 parking lot, encapsulates the emptiness of an
American lifestyle
Fig. 5:
Le Gran Confort (couch and chair), 2004
plywood and aluminum pipe
couch 76 x 40 x 36 in. chair 40 x 40 x 36 in.
11. BIOGRAPHY
Barbara Gallucci received her B.F.A. at the University of California,
Santa Cruz, CA, and M.F.A. at Yale University, New Haven, CT. Exhibi-
tions include Bakalar Gallery Mass College of Art, Boston; Greene
Street Gallery, Boston; Kayafas Gallery, Boston; Derek Eller Gallery, NY;
Lauren Wittels Gallery, NY; Site Santa Fe, NM; Galerie Les Filles Du Cal-
vaire, Paris; Frac Credac, Paris; Frac Le Quartier in Brittany; Lothringer
13 in Munich, Germany; Tri Gallery, Los Angeles; among others.
She is a recipient of the Pollock Krasner Foundation Grant, the Gottleib
Foundation Fellowship, Joan Mitchell Foundation Fellowship and the
International Art Critics Award (IACA) for best solo show in Boston
2004. She is currently a full-time sculpture professor at the School of
the Museum of Fine Arts, Boston and is represented by Carroll and
Sons Gallery, Boston, MA.
PROGRAMMING
Artist Talk: Barbara Gallucci
Saturday, February 12, 3 pm
PLATFORM Discussion Series
Saturday, March 26, 3 pm
Join exhibiting artist Barbara Gallucci and landscape architect Michael
Blier as they discuss how Gallucci’s Utopiary Terrace explores issues of
landscape, architecture, the great outdoors, and the world of fine art and
sculpture.
Eye Wonder Family Program
Sunday, February 6, 1–3pm
All programs are free with museum admission
Utopiary Terrace, 2011, detail
Photo by : CLEMENTS / HOWCROFT, Boston
12. JANUARY 29, 2011–APRIL 24, 2011
PLATFORM
PLATFORM is a series of solo exhibitions by artists from
both the New England and national arts communities. These
shows focus on work that engages with deCordova’s unique
architectural spaces and social, geographical, and physical
location. The PLATFORM series is intended as a support for
creativity and expression of new ideas, and as a catalyst for
dialogue about contemporary art.
The 2010–11 PLATFORM series is funded by James and
Audrey Foster.
deCordova | Sculpture Park and Museum
51 Sandy Pond Road
Lincoln, Massachusetts 01773
781.259.8355
www.deCordova.org