By Sarah Chaplin, Alexandra Stara
Addressing the gathering, illustration and exhibition of structure and the outfitted atmosphere, this e-book explores present practices, ancient precedents, theoretical concerns and destiny chances coming up from the assembly of a curatorial ‘subject’ and an architectural ‘object’. Striking a stability among theoretical investigations and case reports, the chapters conceal a large methodological in addition to thematic variety. interpreting the influential function of architectural exhibitions, the members additionally glance at curatorship as an rising perspective in the direction of the research and interpretation of the city. International in scope, this collection investigates curation, structure and town internationally, starting up new chances for exploring the city textile.
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Extra info for Curating Architecture and the City (Critiques)
Robert Segrest, ‘The perimeter projects: notes for design’, Assemblage, no. 1 (October 1986), p. 30. Mark Crinson and Jules Lubbock, Architecture, Art or Profession? Three Hundred Years of Architectural Education in Britain (Manchester, Manchester University Press, 1994), p. 40. Crinson and Lubbock (1994), p. 80. Brian Ambroziak, Michael Graves. Images of a Grand Tour (New York, Princeton Architectural Press, 2005). Robert Harbison ‘Pilgrim’s Progress: On the latter day Grand Tour – how architectural 37 Suzanne Ewing 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 38 devotees travel to view the sacred sites of their profession’ (New York, vol.
There is a very active continuum implied in this rhetoric – the learning is provisional, not necessarily complete, and content is situated ready to shift paradigms. Conclusion: education-curation Concerns and motivations underpinning choosing cities or parts of cities, what to look for or extract from them and related practices of how to do this, are deeply embedded in notions of value and experience in architectural education. Inflections of current education-curation are predominantly method driven, whether ground views – mobile/practice/itinerant explorations, or generated by a defined overview such as the curated 2006 Venice Biennale Cities, Architecture and Society, a representation and celebration of detached abstract data.
And as the past grows without ceasing, so also there is no limit to its preservation. Memory, as we have tried to prove, is not a faculty of putting away recollections in a drawer, or of inscribing them in a register . . In reality, the past is preserved by itself, automatically. 8 So the past is a constant, and constantly evolving, presence, ‘pressing against the portals of consciousness’. It does not need to be consciously summoned up. Shiv Kumar makes a distinction here between Joyce’s understanding of the functioning of memory and Marcel Proust’s: Stephen and Bloom do not go, like Proust’s Marcel, in search of lost time: memory is co-extensive with their perceptions, manifesting itself in a thousand elusive forms.