188 research outputs found
Robert Smithson\u27s unpublished writings
No full textConjunto de escritos de Robert Smithson redigidos entre 1966 e 1972 que, embora não tenha sido publicado pelo autor, é contemporâneo às formulações de conceitos-chave para a compreensão de sua obra, em especial o conceito de site.
Robert Smithson\u27s writings, created between 1966 e 1972. Although never published by the author, they are contemporary to central concepts of his works, in special the idea of site
L’imaginaire science-fictif de Robert Smithson
No full textSi le roman de Brian Aldiss est souvent cité comme la source du Land Art, en revanche on évoque moins régulièrement Cryptozoïque, autre roman de l’écrivain britannique, dont Smithson avait pourtant connaissance. Nous verrons les liens ténus entre l’auteur de science-fiction et le travail de Smithson, pour enfin nous interroger sur ce que cette comparaison peut apporter à la compréhension des mécanismes à l’œuvre chez le land artiste.If Brian Aldiss’s novel is often quoted as a reference for Land Art, on the other hand one evokes less often Cryptozoïc, an other novel by the British writer of which Smithson was nevertheless aware. We shall see the tenuous links between the science-fiction author and the work of Smithson, in order to ask what this comparison can bring to the understanding of the mechanisms of land artist’s works
'Her Irish Heritage' : Annie M.P Smithson and autobiography
No full textThis paper examines some aspects of the work of Annie M.P. Smithson, the author of 21 romance novels between 1917 and 1946. Her attitudes towards women, religion and politics are explored, and the importance of autobiography in her fiction discussed.Cet article analyse divers aspects de l'oeuvre d'Annie M.P. Smithson, l'auteur de vingt et un romans 'romanesques' publiés entre 1917 et 1946. Il étudie son attitude concernant les femmes, la religion, la politique, ainsi que le rôle de l'autobiographie dans sa fiction.Walsh Oonagh. 'Her Irish Heritage' : Annie M.P Smithson and autobiography. In: Études irlandaises, n°23-1, 1998. pp. 27-42
Jüri Okas’ ‘specific objects’: diverging discourses in Estonian Art in the 1970s.
No full textPreviously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000367/Article 3 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.This article will look at the early works of Estonian architect and artist Jüri Okas and will try to work between diverging languages and interpretations, reading works by Okas against the background of Anglo-american conceptualism and minimalism of the same period. The first part of the paper will analyse a print by Jüri Okas that paraphrases works by the American artist Donald Judd and will try to show how Okas’ concept of minimalism differed from the Western one and the reasons behind it. The second part of the paper will focus on a conceptual book by Jüri Okas, consisting of a series of photographs of everyday and banal architectural objects, and compare it to Rober Venturi’s book on Complexity and Contradiction in Architecture. Finally, a comparison will be made with works of Robert Smithson in the context of concepts of waste, excess and the remainders of industrial civilisationPostprin
ALISON AND PETER SMITHSON: THE TRANSIENT AND THE PERMANENT
No full text[EN] Exhibitions are a cornerstone of Alison and Peter Smithsons' multifaceted approach to their work. A powerful medium for conveying and materialising their ideas which provided them, throughout their career, with the opportunity to freely create experimental constructions to relay their thoughts.
The exhibitions they staged in the 1950s and 60s, such as 'Parallel of Life and Art', 'House of the Future', and 'Patio & Pavilion' were, and still are, at least as important to architectural critics as their few built works or many writings. However, from the 1970s onwards little is known about their prolific work in the realm of exhibitions.
In his lecture 'The Masque and the Exhibition: Stages Towards the Real' in 1980, Peter Smithson mentioned the importance of exhibitions in shaping the Smithsons' architecture as places of opportunity in which to experiment with reality. This comment makes it logical to think that if the exhibitions held before then had always been a powerful tool - a tool used, furthermore, by the Smithsons to create some of their most intense productions - then those staged after said lecture, which acknowledged and highlighted this aspect of their work might, despite being little known, be at least as intense as the previous exhibitions with greater media visibility. This idea, together with the expectations raised by the 'Christmas-Hogmanay' exhibition - not only because it was staged whilst said lecture was being drafted but also because of the ideas that sprang from the analysis of a related collage mentioned in the prelude to this doctoral thesis - channelled the research towards this final period of the Smithsons' exhibition architecture. The research herein focuses specifically on two groups of exhibitions that stand out amongst the Smithsons' wide range of documented exhibitions on account of their inherent intellectual cohesion enabling the concepts staged by Alison and Peter Smithson to be seen more clearly.
This doctoral thesis consists of four chapters. It begins with an introductory chapter which firstly analyses and contextualises architecture in the shape of exhibitions; then outlines the importance of exhibitions in Alison and Peter Smithson's work; and finally puts the specific period under study into context in terms of both their career and the discourse of architecture in general.
The two main chapters in this thesis are entitled 'Christmas Exhibitions' and 'Tecta Exhibitions', each organised in a similar fashion: a short introduction to the group of exhibitions followed by an in-depth analysis of each exhibition in the group based mainly on the unpublished documentation to which the author had access in the three main archives devoted to Alison and Peter Smithson: The Alison and Peter Smithson Archive in the Special Collections Department of the Frances Loeb Library at Harvard Design School (USA); the Alison and Peter Smithson Archive / Tecta Archive at Lauenförde (Germany); and the Smithson Family Archive in Stamford (United Kingdom). Finally, each chapter ends with an essay which analyses and links up the different concepts conveyed by each individual exhibition and the exhibitions in the group as a whole.
The last chapter is a short epilogue that gathers up all the concepts set out previously in relation to the Christmas and Tecta exhibitions, and shows how they all tie in together in the Smithsons' most experimental work: the Hexenhaus at Bad Karlshafen.[ES] Dentro del enfoque polifácetico del trabajo de Alison and Peter Smithson, las exposiciones son pieza fundamental. Un medio poderoso para comunicar y materializar sus ideas que les brindó a lo largo de toda su trayectoria la oportunidad de abordar con libertad la construcción experimental de su pensamiento.
Sus propuestas expositivas de la década de los cincuenta y sesenta, como Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sido y son tanto o más relevantes para la crítica arquitectónica como sus escasas obras construidas o sus abundantes escritos. Sin embargo, a partir de la década de los setenta, poco se conoce de su prolífica producción expositiva.
Peter Smithson en la conferencia "The Masque and the Exhibition: Stages Towards the Real" en 1980 expresaba el importante significado que tenían las exposiciones para la conformación de su arquitectura como lugares de oportunidad para experimentar con la realidad. A partir de esta reflexión, parece lógico pensar que si hasta ese momento dichas instalaciones siempre fueron una herramienta con la que los Smithson han ofrecido algunos de sus momentos más intensos, las realizadas a partir de ese momento de reconocimiento consciente y puesta en valor de esta faceta de su trabajo, pese a su poca difusión, podrían entrañar una intensidad al menos similar a las que ya han destacado hasta el momento en los medios. Esta consideración, unida a las expectativas generadas en torno a la exposición Christmas-Hogmanay, tanto por ser simultánea a la elaboración de dicha conferencia, como por las ideas que se desprenden del análisis de un collage vinculado a la misma que aparece como preludio de esta tesis doctoral, ha dirigido la investigación hacia este último periodo de su arquitectura expositiva. En concreto, el estudio se centra en dos grupos que, dentro del amplio abanico de montajes expositivos realizados, destacan por poseer una cohesión intelectual propia que permitirá descubrir con mayor claridad las reflexiones que Alison y Peter Smithson ponen en escena.
La tesis doctoral se estructura en cuatro grandes apartados. Arranca con un capítulo de introducción dedicado a enmarcar el tema de estudio en el que primero se analiza y contextualiza la arquitectura hecha exposición; después, se presenta la relevancia que tiene la obra expositiva en el trabajo de Alison y Peter Smithson; y finalmente se contextualiza el periodo concreto en el que se centra el estudio atendiendo tanto a su propia trayectoria como al discurso arquitectónico general.
Los dos grandes apartados de la disertación son las exposiciones de Navidad y las realizadas junto a TECTA, estructurándose ambos de manera similar. Tras una breve introducción al grupo de exposiciones que se va a analizar, aparecen ampliamente documentadas cada una de las exposiciones que conforma el grupo a partir, principalmente, de la documentación inédita a la que se ha tenido acceso en los tres principales archivos dedicados a Alison and Peter Smithson: The Alison and Peter Smithson Archive en el Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estados Unidos); The Alison and Peter Smithson Archiv / TECTA Archiv en Lauenförde (Alemania); y The Smithson Family Archive en Stamford (Inglaterra). Finalmente, cada capítulo se cierra con un ensayo en el que se analizan y relacionan las diferentes reflexiones que las exposiciones ofrecen, de manera individual y en su conjunto.
El último capítulo es un breve epílogo que reúne y entrelaza todo lo anteriormente expuesto, a través de las exposiciones de Navidad y TECTA, en su obra más experimental, la Hexenhaus en Bad Karlshafen.[CA] Dins de l'enfocament polifacètic del treball d'Alison i Peter Smithson, les exposicions en són una peça fonamental. Un mitjà poderós per a comunicar i materialitzar les idees que, al llarg de tota la seua trajectòria, els van brindar l'oportunitat d'abordar amb llibertat la construcció experimental del seu pensament.
Les seues propostes expositives de la dècada dels cinquanta i seixanta, com ara Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sigut i són tant o més rellevants per a la crítica arquitectònica com les seues escasses obres construïdes o els seus abundants escrits. No obstant això, a partir de la dècada dels setanta, poc es coneix de la seua prolífica producció expositiva.
Peter Smithson, en la conferència "The Masque and the Exhibition: Stages Towards the Real" al 1980, expressava l'important significat que tenien les exposicions per a la conformació de la seua arquitectura com a llocs d'oportunitat per a experimentar amb la realitat. A partir d'aquesta reflexió, sembla lògic pensar que, si fins a eixe moment les dites instal·lacions sempre van ser una eina amb la qual els Smithson han ofert alguns dels seus moments més intensos, les que van realitzar a partir d'aquest moment de reconeixement conscient i posada en valor d'aquesta faceta del seu treball, tot i la poca difusió, podrien contenir una intensitat com a mínim similar a la d'aquelles que ja han destacat fins al moment en els mitjans. Aquesta consideració, unida a les expectatives generades entorn a l'exposició Christmas-Hogmanay, tant per ser simultània a l'elaboració de la dita conferència, com per les idees que es desprenen de l'anàlisi d'un collage vinculat a la mateixa que apareix com a preludi d'aquesta tesi doctoral, ha dirigit la investigació cap a aquest últim període de la seua arquitectura expositiva. En concret, l'estudi se centra en dos grups que, dins de l'ampli ventall de muntatges expositius realitzats, destaquen per posseir una cohesió intel·lectual pròpia que permetrà descobrir amb una major claredat les reflexions que Alison i Peter Smithson posen en escena.
La tesi doctoral s'estructura en quatre grans capítols. Arrenca amb un apartat d'introducció dedicat a emmarcar el tema d'estudi, en què primer s'analitza i contextualitza l'arquitectura feta exposició; després, es presenta la rellevància que té l'obra expositiva en el treball d'Alison i Peter Smithson; i finalment es contextualitza el període concret en què se centra l'estudi, atenent tant a la seua pròpia trajectòria com al discurs arquitectònic general.
Els dos grans capítols de la dissertació són les exposicions de Nadal i les realitzades junt amb TECTA, i s'estructuren tots dos de manera similar. Després d'una breu introducció al grup d'exposicions que s'analitzarà, apareixen amplament documentades cadascuna de les exposicions que conforma el grup, a partir principalment de la documentació inèdita a la qual s'ha tingut accés en els tres principals arxius dedicats a Alison i Peter Smithson: The Alison and Peter Smithson Archive a l'Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estats Units d'Amèrica); The Alison and Peter Smithson Archiv / TECTA Archiv a Lauenförde (Alemanya); i The Smithson Family Archive a Stamford (Anglaterra). Finalment, cada capítol es tanca amb un assaig en què s'analitzen i relacionen les diferents reflexions que les exposicions ofereixen, de manera individual i en conjunt.
L'últim capítol és un breu epíleg que reuneix i entrellaça tot allò exposat anteriorment, a través de les exposicions de Nadal i TECTA, en la seua obra més experimental, la Hexenhausen Bad Karlshafen.Ábalos Ramos, A. (2016). ALISON AND PETER SMITHSON: THE TRANSIENT AND THE PERMANENT [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62223TESI
Robert Smithson in Space: Science Fiction in the Gallery and Beyond
No full textIn the mid to late 1960’s and throughout the 1970’s many contemporary American artists mounted critical attacks on the art world, shaking up long-held beliefs and inciting heated conversations still being addressed today. The arguments offered during this time questioned the relevance of modernist criticism and modernist institutions such as the gallery and the museum. Important artistic personalities interested in finding and creating new pathways out of modernist frameworks arose as a result of these discussions and contributed to the wide diversification of artistic practice prevalent during this time.
One such artist heavily involved in the shaping of 1960s and 1970s art discourse was Robert Smithson whose critical views of the art world led him towards an investigation of perception itself. In doing so Smithson came to perform some of the most effective critiques on vision, time, and location in regards to art and its viewers. This author wishes to highlight the artist’s use of science-fiction type imagery, as gleaned from contemporary film and literature, and its employment within the artist’s larger cultural critiques against capitalist trends and habits within the art world. Smithson’s attraction toward science fiction stems from a need for a conceptual system able to incorporate such disparate themes and subjects as geologic time, abstraction, alternate dimensions, and barren landscapes. Through his adoption of science-fiction imagery, Smithson constructed a critical framework aimed at the dissolution of Greenbergian modernism and what he saw as institutionally endorsed trends within the art world. While much has been and continues to be written on Smithson’s relevance, I wish to argue for the importance of the science-fiction trope and its essentialness to any understanding of Smithson’s larger body of work
Robert Smithson in Space: Science Fiction in the Gallery and Beyond
No full textIn the mid to late 1960’s and throughout the 1970’s many contemporary American artists mounted critical attacks on the art world, shaking up long-held beliefs and inciting heated conversations still being addressed today. The arguments offered during this time questioned the relevance of modernist criticism and modernist institutions such as the gallery and the museum. Important artistic personalities interested in finding and creating new pathways out of modernist frameworks arose as a result of these discussions and contributed to the wide diversification of artistic practice prevalent during this time.
One such artist heavily involved in the shaping of 1960s and 1970s art discourse was Robert Smithson whose critical views of the art world led him towards an investigation of perception itself. In doing so Smithson came to perform some of the most effective critiques on vision, time, and location in regards to art and its viewers. This author wishes to highlight the artist’s use of science-fiction type imagery, as gleaned from contemporary film and literature, and its employment within the artist’s larger cultural critiques against capitalist trends and habits within the art world. Smithson’s attraction toward science fiction stems from a need for a conceptual system able to incorporate such disparate themes and subjects as geologic time, abstraction, alternate dimensions, and barren landscapes. Through his adoption of science-fiction imagery, Smithson constructed a critical framework aimed at the dissolution of Greenbergian modernism and what he saw as institutionally endorsed trends within the art world. While much has been and continues to be written on Smithson’s relevance, I wish to argue for the importance of the science-fiction trope and its essentialness to any understanding of Smithson’s larger body of work
Between brutalists: The Banham hypothesis and the Smithson way of life
No full textThis essay revisits the debates on the New Brutalism as it emerged in Great Britain in the early 1950s. The shifting positions of its main propagators, Alison and Peter Smithson and Reyner Banham, are scrutinised through a re-reading of the polemics of the period and its aftermath. Conventionally, Banham's ground-breaking essay of 1955 ‘The New Brutalism’ is used as a starting-point for a unified history of New Brutalism. However, as it turns out, the Smithsons and Banham held very different opinions about the direction of the New Brutalist project. Whereas Banham advocated an integration between architecture and the latest technologies, the Smithsons sought to combine modern architecture with a multiplicity of tendencies within British culture, reaching back to Arts and Crafts concepts, among others. To open up the discourse and to measure the various shifts, the essay discusses the concept of ‘Image’, identified by Banham as one of the key concepts of New Brutalism, in relation to the various statements made by the Smithsons. In contrast to Banham, the Smithsons defined New Brutalism by laying emphasis on the material qualities of architecture and the aspects of process and making in architectural construction. This was related to their ambition to redesign the system of relationships between the everyday, domesticity, labour and the larger society. In short, it was a different ‘way of life’ that was behind the Smithsons' project for New Brutalism.Green Open Access added to TU Delft Institutional Repository ‘You share, we take care!’ – Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.OLD Woningbou
PLANNING FOR THE END OF THE CONSTRUCTION BOOM AND TRANSITION TO A NORMAL ECONOMY IN ACEH AND NIAS
No full textThere is a very real danger that the transition from the Construction Boom in 2009 to a rapidly growing sustainable normal economy in Aceh will not happen unless both preventive and effective constructive measures are implemented during the coming two years. Instead what could easily happen is a collapse into a deep recession caused by the economy of Aceh being uncompetitive relative to the rest of Indonesia because of its high costs and because in anticipation of this high cost economy situation insufficient investments were made by the private sector in 2006 and the coming two years.
[[alternative]]Robert Smithson 1938-1973
No full text[[abstract]]美國藝術家羅伯特．史密森（Robert Smithson, 1938-1973）最廣為人知的成就即是以《螺旋堤》（Spiral Jetty）開啟了他與大自然對話的窗口，並因此躍上了各類藝術史參考書籍，這件壯觀的漩渦形堤防不但是史密森的代表作，也是他被評論家歸類於地景藝術家的緣由。
而地景藝術（Earthworks）的興起又與一九六○年代美國藝壇風起雲湧的革新有關，普普藝術（Pop Art）、佛拉瑟斯（Fluxus）、最低限藝術、觀念藝術等都已超越了繪畫自身，它們不只主張藝術要平民化，使得藝術與生活的界限越來越模糊難辨，也開始廣泛地運用大眾傳播媒體，讓藝術與科技的差距越來越小。當時，已有一些學者將這個時期的發展認定為後現代主義藝術，因為那些反動流派已經明確顯示了創作的下一個新趨勢。但若以比較寬容的眼光來審視整個美國六○年代，它應該既是現代主義藝術的尾班車，又是後現代主義藝術的火車頭，一直過渡到七○年代之後，現代主義才正式地轉向了後現代。
故本論文以羅伯特．史密森為研究主題，首要動機不僅是因為他身處於那個快速變動的年代，並有著參與地景藝術的背景，也是因為他在創作之外還有著令人矚目的文字表現，其豐富的論述甚至可以被獨立討論，而不只是被藝評家用來引述、詮釋為創作理念，這樣的表達能力在其他藝術家身上並不多見，期待能藉此研究檢視一個創作者在意念與實踐上的先後順序，或這兩個層面的契合度。
史密森生於西元一九三八年一月，一九六○至一九七三年為其最活躍的時期。他的第一次個展在一九五九年紐約的藝術家藝廊（Artists Gallery）舉行，一九六六年加入朵汪畫廊，一九七一年則加入約翰．韋伯畫廊（John Weber Gallery）。一九六四年他不僅正式開始寫作，也策劃了許多利用重機械挑戰傳統創作技術的作品；一九六八年他開始投身於地景藝術創作，一九七二年完成代表作《螺旋堤》；一九七三年七月廿日在空測地景作品—《阿馬力羅斜坡》（Amarillo Ramp）時，因飛機失事不幸身故。在他死後，很快地，紐約文化中心（New York Cultural Center）就舉辦了他的素描回顧展。稍後，在一九七九年，為史密森贏得許多讚譽、在六○至七○年代被視為原始創作理念的文章，也被紐約大學出版社（New York University Press）集結成冊。他的妻子—也是一位藝術家，萳西．荷特（Nancy Holt）亦將他生前所有發表過的文章都集結在《史密森文集》裡，讓我們可以經由最直接的管道去了解其作品的形成經過，也能一窺其思考模式的完整面貌。
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