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Drawing on architecture: the socioaesthetics of architectural drawings, 1970-1990 PDF

422 Pages·2015·27.76 MB·English
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DRAWING ON ARCHITECTURE: !SuL Cl)C THE SOCIOAESTHETICS OF ARCHITECTURAL DRAWINGS, 1970-1990 by C,*%J gco - I L1 JORDAN Sconr KAUFFMAN M.A. Architectural Association School of Architecture, London, 2004 B.A. Architectural Studies, Hobart and William Smith Colleges, 2002 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY AND THEORY OF ARCHITECTURE AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY FEBRUARY 2015 2014 Jordan Kauffman. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature redacted Signature of Author: Department of Architecture g7 September 12, 2014 Signature redacted Certified by: Mark Jarzombek Professor of the History and Theory of Architecture Signature redacted Thesis Supervisor Accepted by_ Terry Knight (I Professor of Design and Computation Chairman, Committee for Graduate Students Jordan Kauffman, MIT 2 Jordan Kauffman, MIT Dissertation Committee: Mark Jarzombek, PhD Professor of History and Theory of Architecture Massachusetts Institute of Technology Chair David Friedman, PhD Associate Professor of the History of Architecture, Emeritus Massachusetts Institute of Technology K. Michael Hays, PhD Professor of Architectural Theory Harvard University 3 Jordan Kauffman, MIT 4 Jordan Kauffman, MIT Drawing on Architecture: The Socioaesthetics of Architectural Drawings, 1970-1990 by Jordan Scott Kauffman Submitted to the Department of Architecture on September 12, 2014 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History and Theory of Architecture at the Massachusetts Institute of Technology ABSTRACT This dissertation examines a period in the late twentieth century when architectural drawings provoked a profound re-evaluation of architecture. It does so through novel research of the individuals, galleries, institutions, and events-and the networks that originated therefrom-that drove this reappraisal by shifting the perception of architectural drawings. During the 1970s and 1980s, for the first time, architectural drawings became more than an instrument for building. Prior to this period, except for scattered instances, buildings were considered to be the goal of architectural practice; architectural drawings were viewed simply as a means to an end. However, through a confluence of factors architectural drawings emerged from this marginal role. Drawings attained autonomy from the architectural process and were ultimately perceived as aesthetic artifacts in and of themselves. No attention has been given to this shift, and recovering this period's forgotten history reveals a rich and complex tapestry. Research unearths interrelated individuals, galleries, institutions, and events outside of practice that impacted the perception of architectural drawings during this period. This reveals the uniqueness of this period, for at no other time was debate generated in the same way, since at no other time did the necessary structures exist to support this change. During this period, architectural drawings became the driving force of architectural debate, not for what architects put in them, but for what others asked them to be and saw in them. Through exhibitions that emphasized drawings in and of themselves, through collectors and galleries, through the development of a market for architectural drawings, and through the interrelation of these, all of which this work reconstructs for the first time, the role and perception of drawings fell between and among aesthetic, artistic, architectural, commercial, conceptual, cultural, and historical understandings. It was this shifting that drove questioning during this period of nearly all facets of architecture. Thesis Supervisor: Mark Jarzombek Title: Professor of History and Theory of Architecture 5 Jordan Kauffman, MIT ACKNOWLEDGEMENTS First and foremost, I would like to express my heartfelt thanks to my dissertation committee. My advisor, Mark Jarzombek, deserves utmost thanks for his steadfast support and unwavering encouragement. David Friedman's persistent enthusiasm for this project and his constant questioning of it were indispensable to this work. Michael Hays' comments sharpened the focus of this work more than once. Discussions and conversations with these three helped push this project further than I imagined it could go. I would also like to thank other faculty in the HTC program who supported this work in various ways. At times, Caroline Jones, Stanford Anderson, Kristel Smentek, and Nasser Rabbat discussed this work with me and offered their thoughts. Each helped to push this work forward. There were a number of people who were willing to share their experiences with me, and for that I am extremely grateful. These individuals and their experiences form the backbone of this work and, without the breadth and richness they provided to this work, it would not have been complete. I am indebted to (in alphabetical order) Emilio Ambasz, Pierre Apraxine, Ricky Burdett, Gail Davidson, Elain Evans Dee, Julia Elton, Richard Feigen, Kristin Feireiss, Sven Gahlin, Angela Giral, John Harris, Charles Hind, Niall Hobhouse, Barbara Jakobson, Antonia Jannone, Kirsten Kiser, Phyllis Lambert, Jill Lever, Timothy Lingard, Andrew MacNair, James Miller, Henry A. Millon, George Negroponte, Judith York Newman, Janet Parks, Barbara Pine, Vicki Porter, Max Protetch, Margaret Richardson, Luce van Rooy, Bernice Rose, Femke Speelberg, Wilfried Wang, Jan van der Wateren, and Priscilla Wrightson. Not enough can be said about the generosity and friendship of John and Eileen Harris. Their openness and kindness was inspiring. John was instrumental in making many of the connections that allowed me to complete this project. Correspondences with Brett Littman and Dita Amory were also invaluable in learning more about the history of The Drawing Center. Conversations with Joao Ribas at the early stages of this project led to many productive avenues of exploration. A late conversation with Barry Bergdoll helped frame some information about the Museum of Modern Art. I would like to thank the staff at the archives of the Museum of Modern Art, the Archives of American Art, the University of Pennsylvania Archives, the Institute of Contemporary Art, the London Archives, the Architectural Association Archives, the Royal Institute of British Architects Archives, the Royal Academy Archives, Christie's archives, and Sotheby's archives. Fiona Orsini at the RIBA, Edward Bottoms at the Architectural Association, and Gregory Herringshaw at the Cooper-Hewitt archives deserve special mention for their generosity. The research required for this work would not have been possible if not for grants from MIT, the Canadian Centre for Architecture, the Institute of Historical Research, School of Advanced Study, University of London, and the Drawing Institute at the Morgan Library and Museum. Each created a wonderful environment in which to conduct research. At the CCA, special thanks go to Alexis Sornin, Janet Abrams, Colin MacWhirter, Renata Guttman, and 6 Jordan Kauffman, MIT Genevieve Dalp6. My colleagues at the CCA, Aliki Economides, Andr6 Tavares, Diogo Seixas Lopes, Nathalie Chabiland, Elizabeth Essaian, Julia Tischer, and Enrique Ramirez were extraordinarily supportive. At the Institute of Historical Research, Oleg Benesch and Justin Biel were very helpful in forming early articulations of this project. Linda Wolk-Simon at the Drawing institute was integral to my success in interviewing Max Protetch. Also at the Drawing Institute, Isabelle Dervaux was extremely helpful in framing thinking about drawings. My colleagues there, John Hawley and Veronica White, also provided fruitful discussions. In London, I was fortunate to have Penelope Haralambidou as an academic advisor. Conversations with her at the British Library were influential in shaping the ways I thought about architecture's relationship to the market. My colleagues in the HTC program have been central to my time at MIT. Karin Oen, Christian Hedrick, Razan Francis, Ben Matteson, and John L6pez were a constant source of support and inspiration. Conversations with other colleagues, such as Nicola Pezolet, Azra Aksamija, Michael Osman, Lucia Allais, Mechtild Wildrich, Alla Vronskaya, Igor Demchenko, Rebecca Uchill, and Michael Kubo helped shape my experience at MIT. Rixt Woudstra deserves special thanks. Without her, I would not have been able to interview Kristin Feireiss. Nisa Ari cannot be thanked enough for letting me use her computer when the inevitable finally happened. Anne Deveau and Kate Brearley deserve my deepest thanks for their support throughout my tenure at MIT. Brian Whalen and Geoff Palmer supported me throughout this process. They are more than my friends; they are family. Thanks also to Yasmine Chien, Morgan Ryan-Wynhoff, Pat Martin, Larissa Graeber, Sean and Liz Arrasmith, Lydia Pecker, Betsey McGee, Mark Pecker, Fakhry Akkad, Jose Carrizosa and Carolina Lega, Andrew and Yukie Wit, Alix Lawrence, Frances Mikuriya, Steve Preston, Susanne Bauer, and Amy Weidner-LaSala and Joe LaSala. I do not know how to say thank you enough to my mother, Robin Davis, and my stepfather, Jay Hooper, for their unfailing support and encouragement. They have edited most of this work, and any eloquence in its prose belongs to them. My father, Michael Kauffman, my stepmother Sharon Kauffman, and my grandmother Rhoda Kauffman supported me in more ways than can be expressed. Thank you. Special gratitude is given to my grandparents, Samuel and Selma Elkin, who instilled in me the importance of education. My deepest pride arises from having had my grandmother as part of my life. Her strength, kindness, and understanding provided inspiration to me throughout this project and continue to influence me throughout my life. My deepest regret is that she was not able to see the completion of this project. This work is dedicated to her. Finally, the CCA deserves another special thank you for introducing me to my wife. Marie- though it is great to finish this dissertation, the best thing that happened during the entire experience was meeting you. Thank you for everything. 7 Jordan Kauffman, MIT 8 Jordan Kauffman, MIT TABLE OF CONTENTS TIM ELINE OF EVENTS ............................................................. 13 DIAGRAM S OF NETWORK ......................................................... 16 INTRODUCTION .................................................................. 19 CHAPTER ONE: FROM PROCESS TO OBJECT: DRAW INGS AS DRAWINGS ......................................................... 29 CHAPTER Two: FOUNDATIONS FOR ART: THE AUTONOMY OF ARCHITECTURAL DRAWINGS .................................... 88 CHAPTER THREE: THE CHANGING NATURE OF ARCHITECTURAL DRAWINGS: THE LEO CASTELLI GALLERY SHOWS ............................................. 166 CHAPTER FOUR: NORMALIZED PRACTICE: ARCHITECTURE IN THE GALLERIES ................................................. 277 CONCLUSIONS ................................................................... 342 A DDENDUM ..................................................................... 358 INTERVIEW S ..................................................................... 385 CORRESPONDENCE / DISCUSSIONS ................................................ 389 A R C H IV E S ....................................................................... 390 BIBLIOGRAPHY .................................................................. 391 9 Jordan Kauffman, MIT 10

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of the requirements for the degree of Doctor of Philosophy in History and During the 1970s and 1980s, for the first time, architectural drawings . Martin, Larissa Graeber, Sean and Liz Arrasmith, Lydia Pecker, Betsey .. include Charles Jencks's The Language of Postmodern Architecture (1977),
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