Craig Buckley: Graphic Apparatuses: Architecture, Media, and the Reinvention of Assembly 1956-1973 (2013)
Filed under thesis | Tags: · architecture, assembly, collage, history of architecture, machine, media, montage
“This study examines the work of a number of architects who sought to rethink the physical, visual, and historiographic problems of assembly at a moment when the discipline was being destabilized by changing cultural politics and the proliferation of new electronic media.
Through a series of case studies, it analyzes buildings, images, publications, prototypes, and films made from the late 1950s to the early 1970s by architects in London (Theo Crosby and Edward Wright), Vienna (Hans Hollein, Gunther Feuerstein, Walter Pichler), Paris (the Utopie group), and Florence (the Superstudio group).
I argue that during these years the making of composite images was intensely identified with imagining new forms of construction, a dynamic informed by concepts of montage pioneered by the historical avant-gardes. Rather than compare postwar experiments to those of the 1920s, the dissertation considers how emerging media practices responded to the absorption of montage into postwar mass culture. The rethinking of montage paralleled a changing attitude toward machines, in which an earlier 20th-century ambition to master mechanization through design and prefabrication gave way to an attitude emphasizing a more flexible combination and rearrangement of parts, materials, and concepts drawn from a wide range of sources. Assembling an image out of disparate photomechanical elements graphically enacted the manner in which architects imagined appropriating technologies and materials from outside the domain of architecture in a bid to transform the discipline. During these years architects engaged montage as a mode of working both within and against the space of architectural publicity; one that was less illustrative than it was performative.
If efforts to reinvent problems of assembly aimed to shift discourse within the discipline, they were also shaped by changes in the technological apparatuses of mechanical reproduction, notably the displacement of industrial letterpress by photo-offset lithography. In retrospect, grasping changing ideas of assembly helps to comprehend how during these years the status of building shifted within architectural culture, while also prefiguring how habits of “cut and paste,”–the continual combination and alteration of ready-made visual material–would become central to the operational culture of digital tools in our own time.”
Publisher Architecture Department, Princeton University, 2013
Advisors: Beatriz Colomina and Spyros Papapetros
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Filed under book | Tags: · abstraction, architecture, art, art education, bauhaus, biology, design, film, image, industrial design, life, light, literature, machine, motion, painting, perception, photography, poetry, sculpture, technology, visual communication, visual poetry
“This book is written for the artist and the layman, for everyone interested in his relationship to our existing civilization. It is an extension of my previous book, The New Vision. But while The New Vision gave mainly particulars about the educational methods of the old Bauhaus, Vision in Motion concentrates on the work of the Institute of Design, Chicago, and presents a broader, more general view of the interrelatedness of art and life.” (from the author’s foreword)
Publisher Paul Theobald, Chicago, 1947
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Filed under book | Tags: · aesthetics, architecture, art, beauty, functionalism, history of architecture, machine, nature, rationalism, theory
“The main purpose of this book is to study the idea of functionalism from a historical point of view. The research media are the literary sources of functionalism. Early functionalist trends in writings on architecture shall be analyzed and compared with each other and with modern interpretations of the concept. By means of this essentially semantic study I hope to demonstrate (1) the antiquity of functionalist ideas, especially the tendency to connect ideas of use with ideas of beauty; (2) the variety of guises assumed by this type of theory; and (3) the recurrent ideas which have generally characterized functionalist theory.” (from the Introduction)
Publisher Columbia University Press, 1957
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