In 1997 Tiravanija began an engagement with
modernist architecture when he installed in the Museum of Modern Art's sculpture garden Untitled: 1997 (Glass House), a child - size version of Philip Johnson's Glass House (1949).
Not exact matches
When I attended
architecture school in the 1980s, I was rather skeptical of the
modernist project.
So he does exactly that, using countless features taking place (or shot) in Los Angeles to show the development of the city, as well as how decisions on and off the screen impact each other (one of my favourite parts:
when Andersen explains how the city's
modernist architecture was devalued by having the movies always associate the look with antagonists).
COLUMBUS (2017) dir Kogonada w / John Cho, Haley Lu Richardson, Parker Posey, Rory Culkin, Michelle Forbes [100 min; DCP]
When a renowned
architecture scholar falls suddenly ill during a speaking tour, his son Jin (Cho) finds himself stranded in Columbus, Indiana — a small Midwestern city celebrated for its many significant
modernist buildings.
When, influenced by Joseph Beuys, he mocks
modernist architecture, it explodes.
He juxtaposes
modernist architecture with structures common in Latin America — favela shacks, adobe and vernacular buildings — and he incorporates aspects of the do - it - yourself economy to find practical solutions
when resources are scarce.
It featured a number of local talents, including Bjoern Meyer - Ebrecht, whose severe geometric wooden sculptures / book stands were crowned with vintage German
modernist paperbacks that harkened back to a period
when much of the world still believed in the power of art,
architecture, and design to usher in utopias.
Examining the aesthetics of the constructed world, Gillick's work exposes the dysfunctional aspects of a
modernist legacy in terms of abstraction and
architecture when framed within a globalized, neo-liberal consensus.
His work deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s, exposing the dysfunctional aspects of a
modernist legacy in terms of abstraction and
architecture when framed within a globalized, neo-liberal consensus.
From 2012 - 2013, I went on several visits to South Africa and Namibia,
when I first came across post-colonial
modernist architecture on the seafront.
When you look at these images of
architecture, you'd think they were photographs or perhaps renders of
modernist buildings.
In 1975,
when I was designing my first solar house, my professor at Yale, a celebrated
modernist, told me that «solar energy has nothing to do with
architecture.»