By Sarah Chaplin, Alexandra Stara

Addressing the gathering, illustration and exhibition of structure and the outfitted setting, this e-book explores present practices, ancient precedents, theoretical matters and destiny probabilities coming up from the assembly of a curatorial ‘subject’ and an architectural ‘object’. Striking a stability among theoretical investigations and case stories, the chapters disguise a vast methodological in addition to thematic diversity. studying the influential function of architectural exhibitions, the members additionally glance at curatorship as an rising perspective in the direction of the research and interpretation of the city. International in scope, this collection investigates curation, structure and the town internationally, starting up new chances for exploring the city cloth.

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22 And yet a valuing of the tangible was positioned in previous practices of architectural site visits. As Venturi et al. write in the Preface, We believe a careful documentation and analysis of its physical form is as important to architects and urbanists today as were the studies of medieval Europe and ancient Rome and Greece to earlier generations . . We spent three weeks in the library, four days in Los Angeles, and ten days in Las Vegas. 23 Of relevance in this chapter is Part 1 of the first edition: ‘A significance for A&P Parking Lots, or Learning from Las Vegas’.

16 The student has a significant role in ‘choosing (what) to learn from’, and in the context of this chapter should be seen as an essential contributor to the education-curation of a design studio. ) in unfamiliar contexts. An ongoing critique of the relationship between architecture and tourism is important to this history. Notions of rites of passage and travel as discovery embedded in the Grand Tour model remain as remnant objectives of many educational field trips. Typically students (and teachers) of architecture have an increasing experience of travel, as well as exposure to a greater range of outputs such as book manifestos, or films or texts that critique urban places.

Additionally, we wanted to differentiate our signs from commercial neon signs, where a text is often a trading name or an unambiguous injunction – to enter, to view, to consume, etc. The neon texts of For Dublin are indeed ‘adrift’ in multiple ways: they problematize the purpose historically associated with their form; they give the fictitious Molly the kind of prominence sought after by her fictitious husband Leopold (an advertising agent) and attained later by the mythicized, promoted ‘Leopold Bloom’ of official culture and of Bloomsday; and they seek, finally, a place for the female which acknowledges contemporary critiques of the domesticated or otherwise hidden female consciousness.

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