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Now that’s been a couple of weeks after the Pritzker Ceremony, and following my policy of never publishing anything when it’s due, I decided to finish the month with a little recap. This is the way the cartoon was supposed to be on the first place, but I felt that the in-joke departed too much from the real message, and that it might be misleading. But Zumthor is always so funny (I may be one of the twoo or three people in the World that think this, I know). Now that I look at it, I’m a little bit intrigued by the metonymic Popeye connection that arose spontaneously on the right. I’ll have to explore that in the future.

If you don’t know what this is all about, check here

And now, a few links:

Plataforma Arquitectura reviewed the ceremony and kindly uploaded some photos, which can also be found in their mirror site in English Archdaily.

Also, The New York Times offers its own set of pictures, along with insightful statements both about and by some of the assistants:

Frank Gehry (’89), whose own Pritzker ceremony took place in Nara, Japan — “As a student, I learned how to make tatami mats and was in a gagaku orchestra,” he reminisced — could be spotted in head-to-toe black and, at 81, looking slimmer than before. “I go up and down,” he shrugged.’

Such a pity we weren’t invited.

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“When your house contains such a complex of piping, flues, ducts, wires, lights, inlets, outlets, ovens, sinks, refuse disposers, hi-fi re-verberators, antennae, conduits, freezers, heaters -when it contains so many services that the hardware could stand up by itself without any assistance from the house, why have a house to hold it up. When the cost of all this tackle is half of the total outlay (or more, as it often is) what is the house doing except concealing your mechanical pudenda from the stares of folks on the sidewalk? Once or twice recently there have been buildings where the public was genuinely confused about what was mechanical services, what was structure-many visitors to Philadelphia take quite a time to work out that the floors of Louis Kahn’s laboratory towers are not supported by the flanking brick duct boxes, and when they have worked it out, they are inclined to wonder if it was worth all the trouble of giving them an independent supporting structure. (…)

I was standing up to my chest-hair in water, making home movies (I get that NASA kick from taking expensive hardware into hostile environments) at the campus beach at Southern Illinois. This beach combines the outdoor and the clean in a highly American manner – scenically it is the ole swimmin’ hole of Huckleberry Finn tradition, but it is properly policed (by sophomore lifeguards sitting on Eames chairs on poles in the water) and it’s chlorinated too. From where I stood, I could see not only immensely elaborate family barbecues and picnics in progress on the sterilized sand, but also, through and above the trees, the basketry interlaces of one of Buckminster Fuller’s experimental domes. And it hit me then, that if dirty old Nature could be kept under the proper degree of control (sex left in, streptococci taken out) by other means, the United States would be happy to dispense with architecture and buildings altogether.

Bucky Fuller, of course, is very big on this proposition: his famous non-rhetorical question, “Madam, do you know what your house weighs?” articulates a subversive suspicion of the monumental. This suspicion is inarticulately shared by the untold thousands of americans who have already shed the deadweight of domestic architecture and live in mobile homes which, though they may never actually be moved, still deliver rather better performance as shelter than do ground-anchored structures costing at least three times as much and weighing ten times more. If someone could devise a package that would effectively disconnect the mobile home from the dangling wires of the town electricity supply, the bottled gas containers insecurely perched on a packing case and the semi-unspeakable sanitary arrangements that stem from not being connected to the main sewer – then we should really see some changes. It may not be so far away either; defense cutbacks may send aerospace spin-off spinning in some new directions quite soon, and that kind of miniaturizationtalent applied to a genuinely self-contained and regenerative standard-of-living package that could be towed behind a trailer home or clipped to it, could produce a sort of U-haul unit that might be picked up or dropped off at depots across the face of the nation. Avis might still become the first in U-Tility, even if they have to go on being a trying second in car hire.

The car, in short, is already doing quite a lot of the standard-ofliving package’s job-the smoochy couple dancing to the music of the radio in their parked convertible have created a ballroom in the wilderness (dance floor by courtesy of the Highway Dept. of course) and all this is paradisal till it starts to rain. Even then, you’re not licked – it takes very little air pressure to inflate a transparent Mylar airdome, the conditioned-air output of your mobile package might be able to do it, with or without a little boosting, and the dome itself, folded into a parachute pack, might be part of the package. From within your thirty-foot hemisphere of warm dry lebensraum you could have spectacular ringside views of the wind felling trees, snow swirling through the glade, the forest fire coming over the hill or Constance Chatterley running swiftly to you know whom through the downpour.
(…) But … surely this is not a home, you can’t bring up a family in a polythene bag? This can never replace the time-honored ranch-style tri-level standing proudly in a landscape of five defeated shrubs, flanked on one side by a ranch-style tri-level with six shrubs and on the other by a ranch-style tri-level with four small boys and a private dust bowl. If the countless Americans who are successfully raising nice children in trailers will excuse me for a moment, I have a few suggestions to make to the even more countless Americans who are so insecure that they have to hide inside fake monuments of Permastone and instant roofing. There are, admittedly, very sound day-to-day advantages to having warm broadloom on a firm floor underfoot, rather than pine needles and poison ivy. America’s pioneer house builders recognized this by commonly building their brick chimneys on a brick floor slab. A transparent airdome could be anchored to such a slab just as easily as could a balloon frame, and the standard-of-living-package could hover busily in a sort of glorified barbecue pit in the middle of the slab. But an airdome is not the sort of thing that the kids, or a distracted Pumpkin-eater could run in and out of when the fit took them-believe me, fighting your way out of an airdome can be worse than trying to get out of a collapsed rain-soaked tent if you make the wrong first move.

Reyner Banham: A Home is not a House (Art in America issue 2, April, 1965)

The Environment-Bubble

Transparent plastic bubble dome inflated by air-conditioning output. In the present state of the environmental art, no mechanical device can make the rain go back to Spain; the standard-of-living package is apt to need some sort of an umbrella for emergencies, and it could well be a plastic dome inflated by conditioned air blown out by the package itself. Illustration by Francois Dallegret.

Charles Jencks also had something to say about it in 1969.

“The purpose of technology is to make the dream a fact… The end is to make the Earth a garden, a Paradise; to make the mountain speak”. –Arthur Drexler

“… it is difficult not to suspect that presented with scenes from cultures that he does not understand he hopes to gizmo them into comprehensible form… There is (…) a distinct visual and cultural shock in suddenly coming on a Coca Cola dispenser in Latin America or the Arab States, it is apt to look like a visitor from Mars (…)”  –Reyner Banham, ” The Great Gizmo”

“Traditionally the fine arts depend on the popular arts for their vitality, and the popular arts depend on the fine arts for the respectability. It has been said that things hardly “exist” before the fine artist has made use of them, they are simply part of the unclassified background material against which we pass our lives. The transformation from everyday object to fine art manifestation happens in many ways; the object can be discovered – objet trouvé or I’art brut – the object itself remaining the same; a literary or folk myth can arise, and again the object itself remains unchanged; or, the object can be used as a jumping-off point and is itself transformed.

(…) For us it would be the objects on the beaches, the piece of paper blowing about the street, the throw-away object and the pop-package.

For today we collect ads.

(…) Mass-production advertising is establishing our whole pattern of life – principles, morals, aims, aspirations, and standard of living. We must somehow get the measure of this intervention if we are to match its powerful and exciting impulses with our own.

— Allison and Peter Smithson, “But Today We Collect Ads”

“The man who changed the face of America had a gizmo, a gadget, a gimmick – in his hand, in his back pocket, across the saddle, on his hip, in the trailer, round his neck, on his head, deep in a hardened silo.”

— Reyner Banham, “The Great Gizmo” (1965)

As a kind of follow-up to Kazys Varnelis’ “Today We Collect Nothing”, which also found an interesting response here.

The End of the Beginning

While classical origins were thought to have their source in a divine or natural order and modern origins were held to derive their value from deductive reason, `not-classical’ origins can be strictly arbitrary, simply starting points, without value. They can be artificial and relative, as opposed to natural, divine, or universal. Such artificially determined beginnings can be free of universal values because they are merely arbitrary points in time, when the architectural process commences. One example of an artificial origin is a graft, as in the genetic insertion of an alien body into a host to provide a new result …

A graft is not in itself genetically arbitrary. Its arbitrariness is in its freedom from a value system of non-arbitrariness (that is, the classical). It is arbitrary in its provision of a choice of reading which brings no external value to the process…
 

The End of the End

Along with the end of the origin, the second basic characteristic of a ‘not-classical’ architecture, therefore, is its freedom from a priori goals or ends – the end of the end …

With the end of the end, what was formerly the process of composition or transformation ceases to be a causal strategy, a process of addition or subtraction from an origin. Instead the process becomes one of modification – the invention of a non-dialectical, non-directional, non-goal oriented process …

This suggests the idea of architecture as ‘writing’ as opposed to architecture as image. What is being `written’ is not the object itself – its mass and volume – but the act of massing. This idea gives a metaphoric body to the act of architecture. It then signals its reading through another system of signs, called traces. Traces are not to be read literally, since they have no other value than to signal the idea that there is a reading event and that the reading should take place; trace signals the idea *_o read …

But further, knowing how to decode is no longer important; simply, language in this context is no longer a code to assign meanings (that this means that). The activity of reading is first and foremost in the recognition of something as a language (that it is). Reading, in this sense, makes available a level of indication rather than a level of meaning or expression.

Therefore, to propose the end of the beginning and the end of the end is to propose the end of beginnings and ends of value – to propose an other `timeless’ space of invention. It is a ‘timeless’ space in the present without a determining relation to an ideal future or to an idealized past. Architecture in the present is seen as a process of inventing an artificial past and a futureless present. It remembers a no-longer future.

Peter Eisenman: The End of the Classical: the End of the Beginning, the End of the End” (1984)

Founding Nietzsche in the Fin d’Ou T Hou S: http://corbu2.caed.kent.edu/architronic/v2n3/v2n3.05.html

The Uncanny and the Architecture of Deconstruction: http://www.imageandnarrative.be/uncanny/bartvanderstraeten.htm

 

This dates back to 2007, when Sylvia Lavin explained how when she was a child, she used to visit Art Museums with her parents, both Art Historians. While they studied the artworks, she would study and mimic their gestures, getting ready for her fruitful career as a critic.  At what moment did dildos and other useful household utensils finally enter the equation is something that needs further exploration.

No, no pun intended.

About Sylvia Lavin: http://en.wikipedia.org/wiki/Sylvia_Lavin

Form Follows Libido (a glimpse): http://books.google.es/books?id=Jp0Qvoc0c64C&dq=sylvia+Lavin&printsec=frontcover&source=bl&ots=sofcVg8aWn&sig=OgUo_X9zFrnGwE1vF41o36upObA&hl=es&ei=LOwYS87dHaa5jAf1oaCKBA&sa=X&oi=book_result&ct=result&resnum=10&ved=0CDoQ6AEwCTgK#v=onepage&q=&f=false

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