By William Saunders
Greater than ever, architectural layout is visible as a way to advertise advertisement ambitions instead of as an lead to itself. Frank Gehry’s Guggenheim Museum in Bilbao, for instance, easily can't be thought of except its meant function as a catalyst for the commercial revitalization of Bilbao and its skill to draw vacationer cash, despite its architectural benefits. 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 unheard of commercialization of architecture? Framed with a provocative advent by means of Kenneth Frampton, the contributions to Commodification and Spectacle in structure stake out various positions within the debate over the level to which it truly is possible—or desirable—to break out from, face up to, or recommend believable possible choices to the dominant tradition of shopper capitalism. Rejecting any dreamy nostalgia for an idealized current or earlier within which layout is totally divorced from commerce—and, in certain cases, celebrating the pleasures of spectacle—the person essays diversity from indictments of specific architects and evaluations of the occupation to broader issues approximately what the phenomenon of commodification potential for the perform of democracy and the healthiness of society. Bringing jointly a magnificent and sundry staff 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 on the Harvard layout university. he's the writer of recent structure: photos via Ezra Stoller. Kenneth Frampton is Ware Professor of structure at Columbia college 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)
2 (April 1996): 250–78, for a recent, I think breakthrough, analysis of how Prisoner’s Dilemmas, Tragedy of the Commons, and other strategic patterns of behavior challenge any strong belief in the fairness, or even desirability, of the outcomes of the market order. 10. Which is not to say that extraordinary form will not turn out to be an important contributor to architecture’s revaluation. Here I look to the recent work of Frank Gehry, of course, but also to Marcos Novak of UCLA and Kas Oosterhuis from the Netherlands, Neil Denari at SCI-Arc, and others.
I followed a group of aging bikers—dressed to the nines in ﬂamboyant self-assembled gear—through the gallery, witness to the real art of the motorcycle. My thought was that their interaction with brand Rem Koolhaas, Guggenheim Hermitage Museum, The Art of the Motorcycle exhibit, Las Vegas, Nevada, 2001. Photograph by David Heald; copyright Guggenheim Museum. 25 | Brand Aid was loving but resistant. But it was tough not to be put in mind of the bloody ﬁght between rival gangs the previous week in nearby Laughlin, where three bikers wound up dead.
At the motorcycle exhibition, the stairway is painted in Prada’s signature chartreuse to reinforce the point. The retina is the point of sale: to see is to buy. In contemporary “casino capitalism,” citizenship is a credit line, democracy a crapshoot. The Guggenheim has a track record here. ”2 That horse came in. The merger of art, shopping, and gambling also has a track record. Here, the innovator is Steve Wynn, whose Bellagio hotel (now sold to Kirk Kerkorian) was the standard-setter for the merger of high-end shopping (“the best assortment on the planet”), “gaming” (the new owners have reportedly removed the receptacles that had formerly muted to an elegant hush the sound of money tumbling from the Bellagio’s slots), and, of course, the art collection (now decamped to Wynn’s new Desert Inn).