By William Saunders
Greater than ever, architectural layout is visible as a way to advertise advertisement targets instead of as an result in itself. Frank Gehry’s Guggenheim Museum in Bilbao, for instance, easily can't be thought of except its meant position as a catalyst for the industrial revitalization of Bilbao and its skill to draw vacationer funds, despite its architectural advantages. A equipped setting meant to seduce shoppers is prone to provide speedy gratification than to ask self sustaining suggestion and mirrored image. yet how destructive, if in any respect, is that this unparalleled commercialization of architecture? Framed with a provocative creation by means of Kenneth Frampton, the contributions to Commodification and Spectacle in structure stake out quite a few positions within the debate over the level to which it really is possible—or desirable—to break out from, withstand, or recommend believable choices to the dominant tradition of buyer capitalism. Rejecting any dreamy nostalgia for an idealized current or previous during which layout is totally divorced from commerce—and, every so often, celebrating the pleasures of spectacle—the person essays diversity from indictments of specific architects and evaluations of the career to broader issues approximately what the phenomenon of commodification ability for the perform of democracy and the future health of society. Bringing jointly a powerful and sundry crew of critics and practitioners, Commodification and Spectacle in structure might help to sharpen the dialogue of ways layout can reply to our hypercommodified culture. Contributors: Michael Benedikt, Luis Fern?ndez-Galiano, Thomas Frank, Kevin Ervin Kelley, Daniel Naegele, Rick Poynor, Michael Sorkin, Wouter Vanstiphout. William S. Saunders is editor of Harvard layout journal and assistant dean for exterior family members on the Harvard layout university. he's the writer of contemporary structure: photos via Ezra Stoller. Kenneth Frampton is Ware Professor of structure at Columbia collage Graduate university of structure, making plans, and renovation and writer of many books, together with Labour, paintings, and structure.
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Additional resources for Commodification and Spectacle in Architecture: A Harvard Design Magazine Reader (Harvard Design Magazine)
Tolerance becomes repression through sheer numeracy, the ultimate indifference to difference. When the museum goes out of business by going into business, great categories die. It is the same process that Rem applies to urbanism. His formula “World Equals City” is an equation that can lead only to the elimination of the city. Preaching this inevitability is, however, a choice, and not simply an acute bit of teleological thinking about material culture. Removing yet another seam of distinction further reduces choice in the new “empire” of globalization that—for all its vaunted hybridity and ﬂexibility—continues to impose centralized control, uniform values, and the regime of pure proﬁt.
None of these movements is likely to enable architects to transform the cynical mess that is the postwar environment into a place where everyone is pleased to be a native envied by a tourist, including, when he is at home, the tourist. Consider Deconstruction. As practiced by Zaha Hadid, Peter Eisenman, Daniel Libeskind, or Frank Gehry, it will continue to get press. But what these architects do does not follow Kant’s “categorical imperative”: to work according to principles that others can work according to as well.
At the end of the long perspective, the top of another hotel is visible, its electric sign reading 22 23 Brand Aid Rem Koolhaas, entrance to Guggenheim Hermitage Museum, Las Vegas, Nevada, October 2001. Photograph by David Heald; copyright Guggenheim Museum. ” The view, of course, is totally Vegas. The simulacra. The tackiness. The pretension. The brands. Branding is the quintessence of the new Vegas, and proﬂigate signiﬁers dance to the tune. It is not so much that the idea of the brand is extended but that the concatenation is so extreme.
Commodification and Spectacle in Architecture: A Harvard Design Magazine Reader (Harvard Design Magazine) by William Saunders