Formal elements within the work reference various art and architectural movements: from the gesture of Abstract Expressionism to the austerity of Minimalist paintings, to the spatial considerations
of architectural theory, specifically the work of Frank Gehry.
Formal elements within the work reference various art historical movements: from the gesture of Abstract Expressionism to the flatness of Minimalist paintings, to the spatial considerations
of architectural theory.
Trix & Robert Haussmann have been pioneers in breaking with the canonical premises of modernist design, playfully reinterpreting the linguistic dogmas
of its architectural theories.
She is the editor
of Architectural Theories of the Environment: Posthuman Territory (Routledge, 2013).
Not exact matches
Plainspoken and witty, it qualifies as social history, film
theory, personal reverie,
architectural history and criticism, a bittersweet meditation on automotive transport, a critical history
of mass transit in southern California, a wisecracking compilation
of local folklore, «a city symphony in reverse,» and a song
of nostalgia for lost neighborhoods such as Bunker Hill and unchronicled lifestyles such as those
of locals who walk or take buses.
Lunch break / Afternoon — BioRock
Theory: slide and film presentations on the theory of mineral accretion, reef reconstruction, shore protection and architectural applica
Theory: slide and film presentations on the
theory of mineral accretion, reef reconstruction, shore protection and architectural applica
theory of mineral accretion, reef reconstruction, shore protection and
architectural applications.
Barry Bergdoll Meyer Schapiro Professor
of Art History and Archaeology 19th - and 20th - century
Architectural History;
Theory and Criticism
Contributors include: Vito Acconci, designer; Kai - Uwe Bergmann, Partner, Business Development at BIG; Mindy Thompson Fullilove, Professor
of Clinical Psychiatry and Professor
of Clinical Sociomedical Sciences at Columbia University; Ariane Lourie Harrison, principal
of Harrison Atelier and a critic and lecturer at the Yale School
of Architecture; Seth Harrison, principal
of Harrison Atelier and founder
of Apple Tree Partners; media artist Brian House; poet Rachel Levitsky; artist, designer and founder
of The Center for Urban Pedagogy Damon Rich; artist Martha Rosler; Associate Professor
of Architectural History and
Theory at Pratt Institute's School
of Architecture, Meredith Tenhoor; modular synthesizer artist Ben Vida; and musician C. Spencer Yeh.
Jeffrey Kipnis is professor
of architectural design and
theory at the Knowlton School
of Architecture at Ohio State University and architecture / design curator for the Wexner Center for the Arts.
In a focused manner, Maunz's work mines the history
of classical art,
architectural structures abstracted from memory, particular aspects
of the artist's past, and family and childhood psychological
theory.
Martin Hartung is a doctoral fellow at the Institute for the History and
Theory of Architecture (gta) at ETH Zurich, Switzerland, where he researches the exhibition history
of architectural projects on the art market.
Sabina Andron is a teaching fellow in
Architectural History at the Bartlett School
of Architecture, University College London and Lecturer in Interiors History &
Theory, Univeristy fo East London.
Besides
architectural commissions, murals, painting and printmaking, he published books on art
theory and produced an enormous amount
of silkscreen prints.
Until 2010, Arakawa and Gins painted large canvases that consistd
of letters and numbers arranged geometrically, in which they meditated on their
theory of the «mechanism
of meaning»; these works enabled the couple to financially support their
architectural projects.
Marianne Zamecznik, Curator, writer and director
of Oslo Open, Johanna Agerman Ross, Curator at V&A and co-founder
of Disegno, Peter Lang, Design critic, Professor
Architectural Theory and History, Architecture, Royal Institute
of Art, Stockholm, Sweden.
Contributions by: Vito Acconci, designer; Diana Balmori, Landscape and Urban Designer; Kai - Uwe Bergmann, Partner, Business Development at BIG; Mindy Thompson Fullilove, Professor
of Clinical Psychiatry and Professor
of Clinical Sociomedical Sciences at Columbia University; Ariane Lourie Harrison, principal
of Harrison Atelier and a critic and lecturer at the Yale School
of Architecture; Seth Harrison, principal
of Harrison Atelier and founder
of Apple Tree Partners; media artist Brian House; poet Rachel Levitsky; artist, designer and founder
of The Center for Urban Pedagogy Damon Rich; Associate Professor
of Architectural History and
Theory at Pratt Institute's School
of Architecture, Meredith TenHoor; modular synthesizer artist Ben Vida; and musician C. Spencer Yeh.
The imagery appears to extend or recede from the surface
of the picture plane through the artist's carefully developed variations on colour
theory and
architectural elements with influences
of Op art and Mathematical perspectives.
Co-directors
of DAAR, an
architectural office and artistic residency programme that combines conceptual speculations and
architectural interventions, their
theory and practice moves between art, architecture and education.
Created at the height
of postmodern
theory, Kasten's
Architectural Sites submits iconic buildings to distorting angles and colored lights, thus transforming already vertiginous structures into truly illusory spaces.
Taking root from
architectural theory, futurology and geopolitics, as well as family photographs and memory
of place, his hand - drawn and digital sketches, collages and mobile constructs respond to the psychic and physical impact
of space, and to how these experiences are navigated and mapped.
Founded in NYC in 1967 as an alternative forum for
architectural research, education, and practice, the IAUS was a place
of immense energy and effervescence, whose young founders and participants, while hardly known at the time, would shape
architectural practice and
theory for decades.
Elements
of Balzer's work run parallel to contemporary influences on graphic, industrial, and
architectural design, the flatness
of the vibrantly colored foils create a contemporary twist on the
theories of non-representational neoplasticism, cubist sculpture and the Japanese Superflat movement.