Architecture as artform : drawing, painting, collage, and architecture, 1945-1965
Name
43643523-MIT.pdf
Description
Full printable version
Size
37.1 MB
Format
Adobe PDF
Checksum (MD5)
6da1a4d3d06fd9f8fa1ac93ccc20ba69
Author(s)
Lum, Eric Kim
Advisor(s)
Mark Jarzombek.
Date Issued
1999
Publisher
Massachusetts Institute of Technology
Abstract
The development of an American architectural avant-garde after the Second World War is examined in relation to the formal properties and institutionalized cultural authority of modern art. Rather than looking to the artwork of their American artistic contemporaries, architects and critics appropriated the early European avant-garde as typological precedents, guided by a pedagogical approach steeped in Bauhaus teaching methods. Drawing became the common conduit between the abstract work of art and its transformation into modern architecture. Architecture was seen as a problem that could be studied diagrammatically, and consequently also thought of as a fundamentally conceptual, immaterial artifact. At the same time that architecture was moving towards a flattened artistic condition, however, abstract expressionist painting began to take on the material and dimensional properties of the architectural object, demarcating volume and structure. Modernist collage techniques were also introduced into postwar architectural design, but again the material aspects of the medium were suppressed in favor of its purely visual qualities.
Description
Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.
Includes bibliographical references (p. 319-329).
Subjects
Architecture.
MIT Department
Massachusetts Institute of Technology. Department of Architecture
Terms of Use
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