I find it interesting that he (Prince) has now decided (as explained
in the slideshow) that there is littl eor no difference between his collecting of art/cultural objects and his creation of art,
Thus he can take a car that he had built by someone else and call it a Richar Prince....
Although similar to the concept of readymades, it seems to go astep beyond...
I wonder how if at all this could be applied to architecture?
Could an architect "build" just by putting his label on something?
Although i suppose this is sort of what happened in the end with Libeskinds Freedom Tower?
I guess i am wondering,
Can anyone imagine how the concept of readymades, or taken to its extreme Prince's stance could be applied to Architecture?
Or does anyone know of any examples of it already applied?
if ya take a car and sign your name on it but still use it as a car, it ain't a readymade. same goes for a building. the concept of the readymade is built around taking the functionality out of an industrially produced object by making it a piece of art. although the question remains whether marcel's readymades actually were mass produced items or whether they were one offs made to look to be mass produced objects.
The idea of readymade doesn't exclude modifications, it can either be a found object on it's own, or several found objects grouped together or attached to each other.
I think an architectural application of readymade would be to take something that isn't considered architecture and give it an architectural purpose....Like Shigeru Ban's Nomadic museum.
Hmmm Thanks guys and gals for your responses,
@ Vado so would you say that Prince is not appropriating the object or only if he sells it as a car but a non-functioning one?
Also, if the concept hinges on the functionality, could one even have an architectural readymade?
Would it be spatial art? or What?
@ Ripomatic and Steven,
I don't know is it interesting, perhaps not in the situation you described but could it be???
Finally, I love Shigeru Ban's work, especially the idea of nomadic architecture,
From what your saying it seems as if the situation outlined by Steven would count?
Yes?
I think Stevens point works, but I was really saying that the caveat about the container being unmodified isn't necessary. The dadaists modified their readymades.
actually i'm second-guessing my example because if i think of any 'ready-mades' of the surrealists - and i don't know that the conversation would make sense without reference to the surrealists - the thing missing in the shipping container-cum-abode would be the ironic position or the shock value.
as ripomatic said, the surrealists and dadaists did modify, but not in a way that made their pieces MORE accommodating so much as MORE unlikely or surprising.
slightly different tangent:the house that breuer did that incorporated an airstream was in the news last week. i've heard that talked about as a ready-made project, but i think it doesn't really work as such. sure, breuer worked around a given constraint. (don't we all?) but breuer took the task seriously and - despite it's strangeness - the project is devoid of humor. for that reason, it's really not a great project, having not used the airstream as a foil - not allowing it to enhance the project. it's like breuer simultaneously tried to solve the problem but ignore its implications. the house tries to act as if the trailer isn't there.
In the panic after Pearl Harbor, German planes were reported nearing the coast; the Boston Museum rushed its treasures out of sight. The National Gallery in Washington very intelligently secured the vast empty Vanderbilt chateau of Biltmore in the North Carolina mountains, to shelter the chief masterpieces of the Mellon Collection. The Metropolitan first thought, on the example of the National Gallery in London, of an abandoned mine or quarry, and was on the point of taking one up the Hudson. Fortunately, the prolonged drought during which they inspected it came to an end, and water began to seep in just before they were to occupy it. Various empty country houses were offered them. Soon they announced they had taken a country place, "a hundred miles inland." It was Whitemarsh Hall. Priorities on materials were somehow secured; steel racks for paintings were put up in the salon, steel shutters at the windows. Packing cases were piled in the billiard and other rooms.
Other institutions sent their treasures there also, so that if a single bomb had landed it would have destroyed them all. The hysterical rush to put things in Whitemarsh Hall inspired Hardinge Scholle of the Museum of the City of New York, who had at first participated in the movement, to call the house a "monument hystérique."
--George and Mary Roberts, Triumph on Fairmount: Fiske Kimball and the Philadelphia Museum of Art (Philadelphia: J.B. Lippincott Company, 1959).
ps
Practically every architect that sees Museumpeace (even in person) acts as if it isn't there.
just some cartoon i found and kept. here for a better view.
it occurred to me that a car might qualify as a ready-made if you buried it and then lived in it.
but antfarm already buried cars.
and then i thought of this cartoon...
...and thought it would be so cool to take it literally, just bury a convertible right there in the middle of the room so you could go to the drive-in any old time...
Oct 1, 07 6:22 am ·
·
2 October 1968
death of Marcel Duchamp
"I'm sure there's still some room in the readymade museum."
--2003.11.2003
Someone should tell Ouroussoff that the Colosseum isn't even delineated within the Ichnographia Campi Martii. At least we now know what readymade architectural journalism looks like.
Readymades in Architecture?
I find it interesting that he (Prince) has now decided (as explained
in the slideshow) that there is littl eor no difference between his collecting of art/cultural objects and his creation of art,
Thus he can take a car that he had built by someone else and call it a Richar Prince....
Although similar to the concept of readymades, it seems to go astep beyond...
I wonder how if at all this could be applied to architecture?
Could an architect "build" just by putting his label on something?
Although i suppose this is sort of what happened in the end with Libeskinds Freedom Tower?
For context see recent News posting
http://archinect.com/news/article.php?id=65215_0_24_0_C
I guess i am wondering,
Can anyone imagine how the concept of readymades, or taken to its extreme Prince's stance could be applied to Architecture?
Or does anyone know of any examples of it already applied?
if ya take a car and sign your name on it but still use it as a car, it ain't a readymade. same goes for a building. the concept of the readymade is built around taking the functionality out of an industrially produced object by making it a piece of art. although the question remains whether marcel's readymades actually were mass produced items or whether they were one offs made to look to be mass produced objects.
in an ironic way, a lot of Duchamp's readymades were destroyed and have since been "remade" as "one ofs" to be put on display in museums.
wouldn't "readymade" architecture be like moving into a shipping container without modifying it? would that be interesting?
The idea of readymade doesn't exclude modifications, it can either be a found object on it's own, or several found objects grouped together or attached to each other.
I think an architectural application of readymade would be to take something that isn't considered architecture and give it an architectural purpose....Like Shigeru Ban's Nomadic museum.
Hmmm Thanks guys and gals for your responses,
@ Vado so would you say that Prince is not appropriating the object or only if he sells it as a car but a non-functioning one?
Also, if the concept hinges on the functionality, could one even have an architectural readymade?
Would it be spatial art? or What?
@ Ripomatic and Steven,
I don't know is it interesting, perhaps not in the situation you described but could it be???
Finally, I love Shigeru Ban's work, especially the idea of nomadic architecture,
From what your saying it seems as if the situation outlined by Steven would count?
Yes?
I think Stevens point works, but I was really saying that the caveat about the container being unmodified isn't necessary. The dadaists modified their readymades.
actually i'm second-guessing my example because if i think of any 'ready-mades' of the surrealists - and i don't know that the conversation would make sense without reference to the surrealists - the thing missing in the shipping container-cum-abode would be the ironic position or the shock value.
as ripomatic said, the surrealists and dadaists did modify, but not in a way that made their pieces MORE accommodating so much as MORE unlikely or surprising.
slightly different tangent:the house that breuer did that incorporated an airstream was in the news last week. i've heard that talked about as a ready-made project, but i think it doesn't really work as such. sure, breuer worked around a given constraint. (don't we all?) but breuer took the task seriously and - despite it's strangeness - the project is devoid of humor. for that reason, it's really not a great project, having not used the airstream as a foil - not allowing it to enhance the project. it's like breuer simultaneously tried to solve the problem but ignore its implications. the house tries to act as if the trailer isn't there.
In the panic after Pearl Harbor, German planes were reported nearing the coast; the Boston Museum rushed its treasures out of sight. The National Gallery in Washington very intelligently secured the vast empty Vanderbilt chateau of Biltmore in the North Carolina mountains, to shelter the chief masterpieces of the Mellon Collection. The Metropolitan first thought, on the example of the National Gallery in London, of an abandoned mine or quarry, and was on the point of taking one up the Hudson. Fortunately, the prolonged drought during which they inspected it came to an end, and water began to seep in just before they were to occupy it. Various empty country houses were offered them. Soon they announced they had taken a country place, "a hundred miles inland." It was Whitemarsh Hall. Priorities on materials were somehow secured; steel racks for paintings were put up in the salon, steel shutters at the windows. Packing cases were piled in the billiard and other rooms.
Other institutions sent their treasures there also, so that if a single bomb had landed it would have destroyed them all. The hysterical rush to put things in Whitemarsh Hall inspired Hardinge Scholle of the Museum of the City of New York, who had at first participated in the movement, to call the house a "monument hystérique."
--George and Mary Roberts, Triumph on Fairmount: Fiske Kimball and the Philadelphia Museum of Art (Philadelphia: J.B. Lippincott Company, 1959).
ps
Practically every architect that sees Museumpeace (even in person) acts as if it isn't there.
Facade study study study for the forthcoming Duchamp Inn hi-steaks hotel and casino at the quondam Calder Museum site across the Parkway from the forthcoming Barnes Foundation.
stamp of approval
as always, staged fright
@ Steven,
I love that, what is it?
Also, so anyone can you have a readymade piece of architecture,
Would the program just be un-exciting?
It seems like the concept is sound to me.
just some cartoon i found and kept. here for a better view.
it occurred to me that a car might qualify as a ready-made if you buried it and then lived in it.
but antfarm already buried cars.
and then i thought of this cartoon...
...and thought it would be so cool to take it literally, just bury a convertible right there in the middle of the room so you could go to the drive-in any old time...
2 October 1968
death of Marcel Duchamp
"I'm sure there's still some room in the readymade museum."
--2003.11.2003
Someone should tell Ouroussoff that the Colosseum isn't even delineated within the Ichnographia Campi Martii. At least we now know what readymade architectural journalism looks like.
functionality taken out of context
Ah, function decontextualized--readymade mosque.
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