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Every House on Langland Road – the production of archival, architectural and artistic spaces

机译:朗兰路上的每个房子 - 档案,建筑和艺术空间的制作

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摘要

This article describes an Arts Council England project, undertaken by the author and a photographer, to examine spatial and temporal relations between an art project, its subject and its audience. The project explored and documented the architecture of a modernist 1970s housing estate, Netherfield, designed by a group of four architects for the new city of Milton Keynes. The estate has not aged well and the visual remnants of what had been an ambitious and idiosyncratic housing scheme were to be photographed and juxtaposed with the original architectural drawings. The photographic process contributed to a more complex series of perspectives which included the archival history of the estate and its surrounding new city, the people who live there and my own reflections on a council estate childhood. In turn, these perspectives are set out in this article in terms of the spatial and temporal realms in which they are, and continue to be, produced. Loosely conceived in terms of Lefebvre’s triad, these realms are traced through the estate’s historical narrative from plans to buildings which then converge in the eventual art work. The gallery is seen as an assemblage of multiple connections drawn between various productions of archival, architectural and artistic spaces.
机译:本文介绍了作者和摄影师共同承担的英格兰艺术理事会的项目,旨在研究艺术项目,主题和观众之间的时空关系。该项目探索并记录了1970年代现代主义住宅区Netherfield的建筑,该建筑由四位建筑师组成的小组为新城市米尔顿凯恩斯设计。庄园还没有很好地老化,将曾经雄心勃勃且特有的住房计划的视觉残留物拍照并与原始建筑图纸并列。摄影过程为一系列更复杂的视角做出了贡献,包括庄园及其周围新城市的档案历史,居住在那里的人们以及我对议会庄园童年的反思。反过来,本文将根据它们在并将继续产生的空间和时间领域来阐述这些观点。这些境界从勒费弗尔的三合一概念中被松散地构思出来,可以追溯到庄园的历史叙述中,从计划到建筑物,然后融合到最终的艺术品中。画廊被视为各种档案,建筑和艺术空间之间的多重联系的集合。

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  • 作者

    Umney, Darren;

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  • 年度 2017
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  • 原文格式 PDF
  • 正文语种 en
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