By William Saunders
Greater than ever, architectural layout is obvious as a way to advertise advertisement ambitions instead of as an result in itself. Frank Gehry’s Guggenheim Museum in Bilbao, for instance, easily can't be thought of except its meant function as a catalyst for the commercial revitalization of Bilbao and its skill to draw vacationer cash, despite its architectural advantages. A equipped atmosphere meant to seduce shoppers is likely to supply immediate gratification than to ask autonomous concept and mirrored image. yet how destructive, if in any respect, is that this remarkable commercialization of architecture? Framed with a provocative creation through Kenneth Frampton, the contributions to Commodification and Spectacle in structure stake out quite a few positions within the debate over the level to which it's possible—or desirable—to get away from, withstand, or recommend believable possible choices to the dominant tradition of patron capitalism. Rejecting any dreamy nostalgia for an idealized current or earlier within which layout is totally divorced from commerce—and, every so often, celebrating the pleasures of spectacle—the person essays diversity from indictments of specific architects and evaluations of the occupation to broader matters approximately what the phenomenon of commodification capability for the perform of democracy and the wellbeing and fitness of society. Bringing jointly a magnificent and sundry staff of critics and practitioners, Commodification and Spectacle in structure might help to sharpen the dialogue of ways layout can reply to our hypercommodified culture. Contributors: Michael Benedikt, Luis Fern?ndez-Galiano, Thomas Frank, Kevin Ervin Kelley, Daniel Naegele, Rick Poynor, Michael Sorkin, Wouter Vanstiphout. William S. Saunders is editor of Harvard layout journal and assistant dean for exterior family members on the Harvard layout college. he's the writer of recent structure: images through Ezra Stoller. Kenneth Frampton is Ware Professor of structure at Columbia college Graduate college of structure, making plans, and renovation and writer of many books, together with Labour, paintings, and structure.
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Additional info for Commodification and Spectacle in Architecture: A Harvard Design Magazine Reader (Harvard Design Magazine)
They looked at the manifesto’s list of commercial products (dog biscuits, hair gel, credit cards, sneakers, recreational vehicles, and so on), recognized that this was indeed the kind of promotional design work on which they lavished their time, skill, and imagination, and rejected FTF out of hand.
As with diets and weight loss and health foods, people must be convinced of the merits of further leanness and purity, that the white-on-white emptiness of the art museum sans the art represents an ideal place in which to live and work, that the bride stripped bare is more comely than the bride. ) Of course, the trouble here is that in architecture as in fashion, minimalism yields pleasure in proportion to its expense, requiring great precision in construction, high levels of ﬁnish quality, and carefully controlled lighting (not to say a certain attitude from the user) in order to be valuable.
E. cash—is becoming increasingly necessary to facilitate this. This is not necessarily a good thing or a bad thing. ”11 No argument about its inevitability from the business side: A recent issue of Fast Company proposed 38 | Rick Poynor that fringe ideas generated by social and artistic deviants are the very stuff of mass markets. The magazine’s advice? “Sell out! ”12 Once we dissolve the old boundary lines and concede the territory to corporate forces, it is extremely difﬁcult to win it back. From our compromised position embedded in the new hyphenated reality in which the culture-business depends on the drip-drip-drip of corporate largesse, it becomes hard to imagine that there could be any other way of doing things, especially if this is the only reality we have known.