Bernard Cache's Earth Moves saw the first applied investigation of Gilles Deleuze's concept of the ‘fold’ in architecture, yet, by the 2004 special issue of Architecture Design on ‘Folding in Architecture’, such Deleuzian concepts as the ‘fold’, ‘smooth space’ and ‘faciality’ had been reduced to ‘a prescriptive repertoire of formal manoeuvres’. Derrida's influence upon mainstream architecture begins with his 1982 collaboration with Peter Eisenman for the Parc de la Villette competition, reaches its zenith in the Deconstructivist Architecture exhibition at MOMA in 1988, and, in 2012, he is the subject of a conference that ‘hopes to re-establish the connections’ with his work. Indeed, the past fifty years are coloured by architecture's successive engagements with continental and critical thought. In turn, contemporary architects have demonstrated a voracious appetite for ideas from philosophers and writers, employing these as inspiration for design as much as for their explicatory potential on metaphysical, epistemological or aesthetic questions.
Roland Barthes finds the Eiffel Tower an exemplary artefact for understanding mythology, and Jacques Derrida elaborates deconstruction through Bernard Tschumi's Parc de la Villette and Daniel Libeskind's Jewish Museum. Fredric Jameson discerns in the Bonaventure Hotel the evidence of epistemic change, as does Peter Sloterdijk with the Crystal Palace. ARCHITECTURE AND ITS INFATUATIONS WITH PHILOSOPHERS AND WRITERSĮach of the major thinkers of the late twentieth century engages architecture in some way, be that as subject, metaphor, evidence or ground.
0 kommentar(er)
