Writing Art and Architecture
Format: PDF / Kindle (mobi) / ePub
In his new book, the eminent philosopher Andrew Benjamin turns his attention to architecture, design, sculpture, painting and writing. Drawing predominantly on a European tradition of modern philosophical criticism running from the German Romantics through Walter Benjamin and beyond, he offers a sequence of strong meditations on a diverse ensemble of works and themes: on the library and the house, on architectural theory, on Rachel Whiteread, Peter Eisenman, Anselm Kiefer, Peter Nielson, David Hawley, Terri Bird, Elizabeth Presa and others. In Benjamin's hands, criticism is bound up with judgment. Objects of criticism always become more than mere documents. These essays dissolve the prejudices that have determined our relation to aesthetic objects and to thought, releasing in their very care and attentiveness to the 'objects themselves' the unexpected potentialities such objects harbour. In his sensitivity to what he calls 'the particularity of material events', Benjamin's writing comes to exemplify new possibilities for the contemporary practice of criticism itself. These essays are a major contribution to critical thought about art and architecture today, and a genuine work of what Benjamin himself identifies as a 'materialist aesthetics'.
have on a visitor. Expressed in this way Herzog and de Meuron become, on one level, the architects of affect. Once such a positioning is allowed then a specific question emerges; what is it that can be displayed or exhibited in order that affect—Herzog’s ‘visceral impact’—become the subject of the exhibition? Answering this question necessitates a more general reflection of the image of architecture. After all, what is at stake here is the relationship between architecture and its presentation
instance they locate work. They allow for the incorporation of titles and the placing of work within both a literal as well as a historical context. The three do not just provide the constitutive elements of the work. Rather, they delimit the way matter and production are combined. The combination Art that Matters 101 comes to figure within writing once writing becomes criticism. The latter’s concern is with the question of the way a work works as art. The continual attempt to respond to this
eliminate an affray, does so on the condition of continual policing. A continuity that invites affray as a possible, though perhaps in the long run as an inevitable, response. Allowing for fraying therefore does not result in the destruction of lines, or their passive acceptance. Fraying marks the introduction—an introduction building on an already present possibility—of complex spaces. Fraying undoes the hold of projected singular divisions. These four implications—implications in the sense that
the Duomo to San Lorenzo is a short walk. The approach via Borgo San Lorenzo takes minutes. As for the Chapel, Manetti finishing Brunelleschi’s original plans allows a thought of the Duomo to be carried down one street prior to an opening in which the organization of space has a type of familiarity. Proceeding from the Church through Palazzo Mannelli-Ricardi, it is again a short distance to the market: the Mercato Centrale. The impressive nineteenth century building designed by Mengoni and built
avoid turning the abstract into the literal. In other words, how is the potential of Learning from the House 25 abstraction to be maintained? One clear response is to move the concerns of the urban through the founding site of abstract relations. This is not a visual question. On the contrary it involves the interconnection between the public, the semi-public and what could be called the becoming-private of programmes within apartments blocks. Urban infrastructure, especially when it concerns