Expanded architecture' comprises more than 20 international architects and artists who explore diverse notions of an expanded architecture through spatio-temporal installations, performances, and sound projects. The projects are contextualised in three buildings in Sydney designed by Harry Seidler, who studied under Walter Gropius at Harvard University. Following the Bauhaus tradition, Seidler is also well known for his extensive collaborations with artists such as Josef Albers, Alexander Calder, Frank Stella, Lin Utzon, and Sol LeWitt. Expanded Architecture presents an account of how Seidler's buildings have been used as a charged setting for a series of experimental encounters, here combined with a collection of essays by contemporary thinkers and critics with the aim of reflecting on new approaches in the relation between art and architecture.
Expanding Fields of Architectural Discourse and Practice presents a selection of essays, architectural experiments and works that explore the diversity within the fields of contemporary architectural practice and discourse. Specific in this selection is the question of how and why architecture can and should manifest in a critical and reflective capacity, as well as to examine how the discipline currently resonates with contemporary art practice. It does so by reflecting on the first 10 years of the architectural journal, P.E.A.R. (2009 to 2019). The volume argues that the initial aims of the journal – to explore and celebrate the myriad forms through which architecture can exist – are now more relevant than ever to contemporary architectural discourse and practice. Included in the volume are architectural practitioners, design researchers, artists, architectural theorists, historians, journalists, curators and a paleobiologist, all of whom contributed to the first seven issues of the journal. Here, they provide a unique presentation of architectural discourse and practice that seeks to test new ground while forming distinct relationships to recent, and more longstanding, historical legacies. Praise for Expanding Fields of Architectural Discourse and Practice 'The story told by the authors of this work can thus be considered as the central tool of an architectural transgression.' Critique d’art
Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler
This title explores the realm of art and architecture across a broad terrain of installation practices, revealing a critical territory that has been historically defined as a negativity: the progeny of that which is both not-architecture and not-art.
Transgression means to 'cross over': borders, disciplines, practices, professions, and legislation. This book explores how the transgression of boundaries produces new forms of architecture, education, built environments, and praxis. Based on material from the 10th International Conference of the AHRA, this volume presents contributions from academics, practicing architects and artists/activists from around the world to provide perspectives on emerging and transgressive architecture. Divided into four key themes – boundaries, violations, place and art practice - it explores global processes, transformative praxis and emerging trends in architectural production, examining alternative and radical ways of practicing architecture and reimagining the profession. The wide range of international contributors are drawn from subject areas such as architecture, cultural geography, urban studies, sociology, fine art, film-making, photography, and environmentalism, and feature examples from regions such as the United States, Europe and Asia. At the forefront of exploring inter-disciplinary and trans-disciplinary research and practice, Transgression will be key reading for students, researchers and professionals with an interest in the changing nature of architectural and spatial disciplines.
Rising stars in Boston's design scene, architects Eric Howeler and J. Meejin Yoon have in a single decade developed a reputation for radical experiments in architectural form. Their design methodology--what they call an "expanded practice"--combines intense research with interdisciplinary experimentation. Howeler and Yoon's sensational, competition-winning lighting entry for the 2004 Athens Olympics exemplifies their fearless approach: without any prior experience in public space interactive design, the firm constructed a luminous, interactive soundscape installation at the base of the Acropolis. White Noise White Light featured a field of semiflexible fiber-optic strands that emitted white light and white noise in response to the movement of pedestrians. The project, an enormous success, enchanted a multitude of visitors who moved amidst the cilia of light. Expanded Practice presents twenty-nine recent projects by this young firm encompassing a broad range of scales and media. The projects, divided into distinct but often overlapping research themes, include a museum courtyard program inspired by the Voronoi cell-packing algorithm (PS1 Loop); an outdoor light installation featuring hovering cones that capture and interact with solar energy, rainwater, and sound (Hover); a garment designed to turn inside out as it unravels (Mobius Dress); and a landscape design that weaves technology and texture into an integrated and interactive landscape (Tripanel). Packed with drawings, diagrams, and photographs of each project's design process, Expanded Practice provides an inspirational look into one of the most exciting young firms working in architecture today.
Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives. The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.
