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Blurred Architecture: Duration and performance in the work of Diller Scofidio + Renfro

机译:模糊的架构:Diller Scofidio + Renfro工作的持续时间和性能

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Architects Elizabeth Diller and Ricardo Scofidio have questioned conventional approaches to spatial temporality and the situation of architecture since the late 1970s. Now joined by Charles Renfro, the installation and architectural projects of their interdisciplinary design studio Diller Scofidio + Renfro are representative of the shift from the aesthetic architectures of post-modernism towards a critical architecture based upon the principles of time-based art. As a reflection on the question of duration and performance, this article returns to Diller Scofidio + Renfro's temporary structure for the Swiss Expo in 2002. Blur Building, or Blur, underlines the occurrence of time through its continuously shifting structure and ephemeral state. Located on a steel-viewing platform on Lake Neuchâtel, Blur was a literal performance of its lakeside site as a series of water jets formed a suspended mist cloud around its steel frame: an ephemeral architecture of water and action. This event-based spatial ecology of Blur is typical of Diller Scofidio + Renfro's focus on the affect of architecture and the social consequence of buildings. Influenced by their initial explorations within a theatrical setting, Diller Scofidio + Renfro integrate the experience of technology and architecture to evoke the social and material contexts of the ‘site’ or situation. Notions of spectatorship and participation recur throughout their architectural interventions, as they aim to position architecture as a means of spatial and haptic revelation: where the event of architectural experience has a direct impact upon our embodied perception of ourselves. Framed by Dorita Hannah's notion of ‘spatial performativity’ and the writings of architect's such as Juhani Pallasmaa and Bernard Tschumi, this article concludes with by reflecting on how Blur is representative of the critical discourses that have shaped contemporary approaches to site and performance, the dramaturgy of architecture.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/13528165.2012.728434
机译:自1970年代后期以来,建筑师Elizabeth Diller和Ricardo Scofidio对传统的时空方法和建筑状况提出了质疑。如今,由查尔斯·伦弗罗(Charles Renfro)加入,其跨学科设计工作室Diller Scofidio + Renfro的装置和建筑项目代表了从后现代主义美学建筑向基于时空艺术原理的关键建筑的转变。为了反映持续时间和性能问题,本文返回了Diller Scofidio + Renfro在2002年瑞士世博会的临时结构。模糊建筑物(或称为Blur)通过其不断变化的结构和短暂状态来强调时间的发生。 Blur位于纳沙泰尔湖的观景平台上,是湖边遗址的真实表现,一系列喷水在其钢架周围形成了悬浮的雾云:水和行动的短暂建筑。这种基于事件的模糊空间生态学是Diller Scofidio + Renfro专注于建筑影响和建筑的社会后果的典型特征。迪勒·斯科菲迪奥·伦弗罗(Diller Scofidio + Renfro)受其在剧院环境中的初步探索的影响,融合了技术和建筑的经验,以唤起“场所”或情况的社会和物质环境。观众和参与的概念在整个建筑干预过程中都屡见不鲜,因为它们旨在将建筑定位为空间和触觉启示的一种方式:建筑体验事件直接影响着我们对自己的体现。本文由多丽塔·汉娜(Dorita Hannah)的“空间性能”概念以及Juhani Pallasmaa和Bernard Tschumi等建筑师的作品构架,最后总结了Blur如何代表了决定性话语,这些话语塑造了当代的场所和表现方法。查看全文下载相关变量var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,service_compact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”, pubid:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/13528165.2012.728434

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