Structuring Architectural Discourse: Forms of Display
Olivia Epstein and Allie McAndrews
Author
04/04/2021
Added
30
Plays
Description
Architectural exhibitions are sites of experimentation enabling open-ended design inquiry. Experimentation happens not only through the exhibition content—what is being displayed— but also through the exhibition structure— how it is being displayed. Hence, exhibition design should be recognized as an important contributor to the discipline of architecture. This research project will lay the groundwork for an exhibition on exhibitions by examining the formal attributes of historic installation designs. The project serves to establish a visual taxonomy of methods of exhibition display, including analysis of the historical and cultural context of each exhibition. This analysis will synthesize relationships between artistic works and movements in order to reveal the lineage, development, and potentials of exhibition design. To date, the research has focused on systems of display in art and architectural exhibitions of the early to mid-20th century avant-gardes.
Searchable Transcript
Toggle between list and paragraph view.
- [00:00:00.270]Architectural exhibitions are sites of experimentation.
- [00:00:03.270]Enabling open-ended design inquiry.
- [00:00:05.820]Experimentation happens not only through the exhibition content or what is being
- [00:00:09.600]displayed,
- [00:00:10.410]but also through the exhibition structure or how it is being displayed.
- [00:00:14.070]Therefore exhibition design should be recognized as an important contributor to
- [00:00:17.670]the discipline of architecture.
- [00:00:19.380]This research project will lay the groundwork for an exhibition on exhibitions,
- [00:00:23.520]by examining the formal attributes of historic installation designs.
- [00:00:28.530]The project serves to establish a visual taxonomy of methods of exhibition
- [00:00:32.520]display,
- [00:00:33.360]including analysis of the historical and cultural context of each exhibition.
- [00:00:37.890]This analysis will synthesize relationships between artistic works and movements
- [00:00:42.510]in order to reveal the lineage development and potentials of exhibition design,
- [00:00:47.100]historic exhibitions have been researched through book chapters online archives
- [00:00:50.910]in scholarly periodicals.
- [00:00:52.800]The research of each exhibition has emphasized the collection of documentations,
- [00:00:56.660]such as architectural drawings, photographs,
- [00:00:59.100]and written accounts of the installation design.
- [00:01:01.860]The documents were studied to determine the actual or approximate size of
- [00:01:05.280]structural elements. Following this investigation,
- [00:01:08.340]3d modeling software was used to construct to-scale digital replicas,
- [00:01:12.300]which were then turned into architectural drawings using Adobe illustrator with
- [00:01:16.830]the introduction of mass media during the 1920s artists experimented with
- [00:01:20.910]installation design as a form of modern communication,
- [00:01:24.090]rather than simply present content for visual consumption that has adjacent
- [00:01:27.900]designers, device delivery systems,
- [00:01:29.610]which necessitated viewer interaction among the first inventive techniques was
- [00:01:33.810]Frederick Kessler's Legere and trigger method,
- [00:01:36.060]which utilize customizable freestanding structures in order to challenge the
- [00:01:40.080]rigidity of traditional salon style exhibition strategies,
- [00:01:43.860]the versatile unitized L and T systems were constructed of axial beans and slats
- [00:01:49.140]altogether.
- [00:01:49.770]The spatially integrated arrangement displayed hundreds of 2d images in 3d
- [00:01:53.520]models and 1924 as international exhibition of new theater technique in Vienna,
- [00:01:59.130]viewers of the exhibition were able to operate elements of the scaffolding in
- [00:02:02.250]order to alter the position of certain cantilevered artworks Kessler's radical
- [00:02:06.750]method serves to remove art exclusively from the walls of the museum.
- [00:02:10.500]Instead bringing it into the space of the viewer, constructivist artists,
- [00:02:14.880]Laszlo Moholy-Nagy spearheaded the new vision movement of photography,
- [00:02:18.600]which experimented with perspectival techniques and uses of the medium,
- [00:02:22.440]the largest and most influential exhibition of this movement was 1929 film and
- [00:02:26.940]photo Instacart for which Moholy designed the show's first gallery room one,
- [00:02:31.830]the installation acted as a photo essay,
- [00:02:33.720]which conveyed the progression of modern culture from a wide variety of sources
- [00:02:37.950]and perspectives. And without any context,
- [00:02:40.950]the unitized and minimalistic structure used to display the photographs,
- [00:02:44.310]drew inspiration from Kessler's Legere and trigger systems,
- [00:02:47.760]the beams and panels of the room. One apparatus, however,
- [00:02:50.850]were often attached to the gallery wall only occasionally implementing
- [00:02:54.510]free-standing display elements.
- [00:02:57.750]Herbert Byer was also influential in developing visual practices,
- [00:03:01.480]which informed and enhanced the new vision movement.
- [00:03:04.750]They are conceptualized the diagram of field of vision in 1930 and the diagram
- [00:03:09.220]of 360 degrees field division in 1935,
- [00:03:12.940]both of which inspired a variety of unconventional methods of experiencing media
- [00:03:17.830]Bayer, incorporated platforms, movable panels,
- [00:03:20.650]and automatically turning louvers in order to create a dynamic visual experience
- [00:03:25.240]for the viewers of his exhibitions in the late 1920s curator,
- [00:03:29.590]Alexander Dorner asked Ellis it's key to design the abstract art exhibit at
- [00:03:33.520]Landis museum in Hanover,
- [00:03:35.410]black curtains were hung in the doorways and the primary entrance faced the
- [00:03:38.830]focal point of the small room, the abstract cabinet,
- [00:03:42.010]which transformed the windowed gallery wall into a tectonic illumination object,
- [00:03:46.840]a seemingly floating glass box covered with thin white fabric diffuse sunlight
- [00:03:51.310]into the room from above Lissitzky was able to control the direction of the
- [00:03:55.360]natural light by implementing adjustable vertical louvers beneath the lighting
- [00:04:00.040]system.
- [00:04:00.610]The cabinet countertop acted as a display case for artworks slim metal slats
- [00:04:05.560]painted black on one side and white on the other with exposed to you on the
- [00:04:09.160]edge, span the height of the walls. When viewers progress through the space,
- [00:04:13.390]the walls transformed from dark to light with a brief flickering energy caused
- [00:04:17.470]by the steel edge, reflecting light from the cabinet,
- [00:04:20.230]the striking visual phenomenon created an unexpected experience for the viewer
- [00:04:24.700]by using innovative lighting and perspectival techniques, Lilly Reich,
- [00:04:29.110]a renowned architect and designer of many mediums was Ms.
- [00:04:32.160]Fandor Rose partner and collaborator on numerous projects.
- [00:04:35.470]The pair had often been commissioned to explore topics of commercialization and
- [00:04:39.220]industrial development through interior design among these projects was the
- [00:04:42.940]velvet and silk cafe,
- [00:04:44.440]which was part of the larger 1927 women's fashion exhibition in Berlin.
- [00:04:48.820]The installation was composed of cafe like seating areas,
- [00:04:51.610]surrounded by amaze of opulent colorful fabric suspended from the double height
- [00:04:55.840]ceiling Meese designed the Mr side chair table and stool for the
- [00:05:00.280]exhibitions furniture. Besides the metal rods of holding the suspended textiles.
- [00:05:05.020]The installation was entirely constructed from the products and materials which
- [00:05:08.500]had displayed thus creating a strong connection between content and form in
- [00:05:13.480]1942,
- [00:05:14.500]Frederick Kiesler created an installation in New York called art of the century.
- [00:05:18.790]The exhibition consisted of a painting library, surrealist gallery,
- [00:05:22.480]kinetic gallery, and abstract art gallery.
- [00:05:25.420]Each environment incorporated several of Kessler's multi-use chairs,
- [00:05:29.140]which typically acted as seating or display platform,
- [00:05:32.350]but could be utilized in a number of ways.
- [00:05:34.870]The chairs were influenced by the surrealist movement and incorporated concepts
- [00:05:38.650]of mass customization. Richard Hamilton's growth informed,
- [00:05:42.550]continued to innovate toward the endless possibilities of the emerging mass
- [00:05:45.940]media culture at London's Institute of contemporary arts in 1951,
- [00:05:51.100]the exhibition interpreted the subject of mathematics and biology,
- [00:05:54.790]and it was primarily composed of videos,
- [00:05:56.900]x-rays photographs and models in order to visually depict the physical laws of
- [00:06:01.640]form Hamilton designed the display structures to emulate skeletal and tubular
- [00:06:06.440]forms found in nature while also considering how the structures would diffuse
- [00:06:10.460]light or cash shadows based upon the presence of the viewer,
- [00:06:14.300]the exhibition was an interdisciplinary culmination of empirical and design
- [00:06:18.350]research producing a minimal yet dynamic environment in which the participation
- [00:06:23.300]of the user contributed to the production of the installations,
- [00:06:26.410]meaning patio and pavilion was in 1965 installation by group
- [00:06:31.120]six, a multidisciplinary team composed of members of the independent group,
- [00:06:35.860]the architects first build an enclosed open airspace,
- [00:06:39.010]the patio that housed a three walled plywood structure, the pavilion,
- [00:06:43.480]the layout embraced functionalism and symbolize the necessities of human
- [00:06:47.590]habitat. The painter and sculptor on the team then added sides of inhabitation,
- [00:06:52.870]which included sand flooring, a bicycle wheel, a table,
- [00:06:56.650]and collages among other objects.
- [00:06:59.380]The exhibition promoted transience mobility and expandability through its use of
- [00:07:03.760]materials and as found nearly apocalyptic aesthetic,
- [00:07:08.290]the studied exhibition precedents innovated methods of interpretation and
- [00:07:11.950]communication in tandem with the rise of mass media successfully positioning art
- [00:07:16.510]and architecture at the forefront of emerging cultural development in today's
- [00:07:20.830]society and political climate exhibition design must encourage viewers to be
- [00:07:25.270]active consumers of information, constantly seeking, filtering,
- [00:07:29.170]and compiling data from a variety of sources by utilizing display structures,
- [00:07:34.120]which bring art into the space and time of the viewer exhibition designers can
- [00:07:38.260]better engage spectators with the installations. Curated message.
- [00:07:42.490]Further research and analysis will serve to evaluate the relationship between
- [00:07:46.540]exhibition design and contemporary architectural discourse. Ultimately,
- [00:07:50.740]the product will result in an iterative design process or design as research to
- [00:07:55.510]explore the structural potentials of exhibition design related to our
- [00:07:59.110]contemporary moment.
- [00:08:00.730]The student researchers would like to acknowledge our wonderful adviser,
- [00:08:03.700]Ellen Donnelly,
- [00:08:04.690]as well as Mary Ann Stanislavski and Kevin Lotery who authored our primary
- [00:08:09.040]sources.
The screen size you are trying to search captions on is too small!
You can always jump over to MediaHub and check it out there.
Log in to post comments
Embed
Copy the following code into your page
HTML
<div style="padding-top: 56.25%; overflow: hidden; position:relative; -webkit-box-flex: 1; flex-grow: 1;"> <iframe style="bottom: 0; left: 0; position: absolute; right: 0; top: 0; border: 0; height: 100%; width: 100%;" src="https://mediahub.unl.edu/media/16319?format=iframe&autoplay=0" title="Video Player: Structuring Architectural Discourse: Forms of Display" allowfullscreen ></iframe> </div>
Comments
0 Comments