Mark Wigley is an influential voice in architectural theory, exploring the intricate relationship between architecture, fashion, and desire. His writings delve into how modern architecture is shaped by aesthetic and cultural forces, often examining the critical underpinnings of deconstruction. Wigley's work encourages a reevaluation of architectural practices through a lens of critical theory and cultural commentary.
The exploration of modern architecture reveals the significance of white walls, which signify more than minimalism; they represent a new form of architectural attire. Mark Wigley argues that these walls are akin to clothing, reflecting the relationship between architecture and fashion. He delves into how architects, often dismissive of fashion, are deeply intertwined with its logic, presenting a nuanced perspective on modern design. By tracing historical connections between clothing and architecture, Wigley uncovers a complex dialogue about surfaces and identity in the built environment.
Bucky Inc offers a deep exploration of Richard Buckminster Fuller's work and thought to shed new light on the questions raised by our increasingly electronic world. It shows that Fuller's entire career was a multi-dimensional reflection on the architec-ture of radio. He always insisted that the real site of architecture is the electromagnet-ic spectrum. His buildings were delicate mobile instruments for accessing the invisible universe of overlapping signals. Every detail was understood as a way of tuning into hidden waves. Architecture was built in, with, for and as radio. Bucky Inc. rethinks the legacy of one of the key protagonists of the twentieth-century. It draws extensively on Fuller's archive to follow his radical thinking from toilets to telepathy, plastic to prosthetics, and data to deep-space. It shows how the critical arguments and material techniques of arguably the single most exposed designer of the last century wereoverlooked at the time but have become urgently relevant today.--Provided by publisher
Von den vielen Shows in der sagenhaften Galerie 112 Greene Street - dem
künstlerischen Epizentrum der New Yorker Downtown Scene in den 1970er-Jahren -
war die Ausstellung der Gruppe Anarchitecture im März 1974 die am längsten
Diskutierte. Dies obwohl jegliche Dokumentation über sie fehlt. Die
Anarchitecture-Show wurde zwar zu einem grundlegenden Mythos, sie ist aber bis
heute weder richtig greifbar noch vollständig nachvollziehbar. Die Ausstellung
hatte ihren Ursprung in einer Reihe von Treffen, die Gordon Matta-Clark
organisierte, und die sein Interesse an Architektur widerspiegelten.
Anarchitecture wurde als anonymes Statement der Gruppe zur Überschneidung von
Kunst und Bauen begriffen, das in Fotos seinen Ausdruck fand. Aber hat die
Ausstellung tatsächlich stattgefunden? Denn heute existiert sie nur noch als
undurchsichtige Spur in Archiven und den Erinnerungen der Teilnehmer. Die
Publikation Cutting Matta-Clark untersucht die Gruppe um Anarchitecture
gleichsam als ein gemeinschaftliches Forschungsseminar, das mittels
ausgedehnter Interviews mit Protagonisten und der Zusammenstellung aller
greifbaren Tatsachen in einem Dossier zu Erkenntnissen gelangen möchte.
Interviews mit Tina Girouard, Jene Highstein, Dickie Landry, Jeffrey Lew,
Richard Nonas, Bernard Kirschenbaum, Susan Weil Kirschenbaum.
