Commitment in architecture : Russian constructivism

Thesis (M.Arch)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCHBibliography: leaves 100-102.by Man-Hung Daniel Ng.M.Arc

Understanding and making of a "place" in cyberspace

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.Includes bibliographical references (leaf 36).The information age has provided exciting challenges for designers and users to interact and work in virtual environments. This has resulted in new interpretations to the representation of places as they begin to develop, interact and communicate their ideas in this medium. Can designers shape the many sites that are beginning to form and can the sites serve as places for interaction/communication linked only through this virtual world? How can designers react to such a landscape? Can we begin to create this environment so that an effective communication between the environment and user can take place How should this environment be represented to the user? Finally, can we begin to "experience" the virtual artifact in a way that is flexible enough in its representation to allow for simultaneous communication of the physical space and the perceptual representation of that place. These will be some of the main issues addressed in the thesis. My investigation seeks to develop a virtual interface for communication of an architectural artifact, that designers can use as a representation to assist them in contextualizing their understanding of that place and to facilitate an environment that aids in communicating within a virtual setting? The artifact created are the virtual design spaces here at MIT and the site for the project will be the World Wide Web. The thesis addresses three main issues. The first will discuss navigating through the artifact. The second issue will endeavor to coalesce the fragmented views of representation though a simulation. The third will explore supplementing current representations into a experiential model to better understand the spaces and the ideas that generated them.Daniel J. Brick.M.S

Three moments of audience address in 20th century artistic production

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Includes bibliographical references (leaves 141-148).This paper examines strategies of audience address as manifest in the work of the Russian avant-garde of the 1920s, the sculptural practices of the American Minimalists and the critics who served to define their endeavors, as well as the more recent projects of institutional critique that have characterized one trajectory of post-minimalist artistic production. Vladimir Tatlin and EI Lissitzky attempted to meet the demands of a newly-forming proletariat class by siting their work in the space of political and public activity. This effort to engender a simultaneous collective response, a notion theorized by Walter Benjamin, was unsuccessful: Lissitzky returned, instead, to the space of exhibition, the conventional arena of artistic discourse, where he designed a series of exhibition rooms that created an active spectator and made visible the ordering systems of the institution. Seen in light of these radical precedents, Minimalism and its critics appear to have been caught in an approach whose departure point was the physical and phenomenological nature of the object and its context-a retreat from the path initiated by Lissitzky. With the arrival of conceptual art some fifty years later, the late Constructivist explorations would re-emerge as the practice of institutional critique. These latter modes of artistic production have examined the socio-political and economic underpinnings of the institution, the composition of its audiences, and the modes of art viewing that it has promoted.by Abigail Deser.M.S

Tarble Arts Center Newsletter May 2001

https://thekeep.eiu.edu/tarble_newsletter/1120/thumbnail.jp

Tarble Arts Center Newsletter May 2001

https://thekeep.eiu.edu/tarble_newsletter/1120/thumbnail.jp

Constructivist costume, textile & theatrical design, 1917 - 1934: a study of constructivism set in the socio-cultural, political and historical context of post-revolutionary Russia

This thesis follows the life of the art movement known as Constructivism through the turbulent post-revolutionary years, up to the onset of Socialist Realism, a doctrine imposed on the Arts by governmental directives. It focuses on the areas of fashion, textile and theatrical design, which themselves are strongly influenced by extra-artistic factors - economics, sociology and the historical era - as was the ethos of Constructivism. After a brief introduction giving some background information on the art world and the main artist-designers of the study, the chapters go on to discuss the factors affecting the rise and then the waning popularity of the constructivist ideology, explaining the focal tenets of Constructivism, particularly in relation to fashion, textile and theatrical design. Since the majority of constructivist works were completed during the time span covered by NEP, those chapters relating to NEP have thus been given emphasis. Some biographical details about the main artists of the study are given at the end, and the Glossary lists the most common acronyms and abbreviations used in the text. The illustrations are intended as a companion to the text, since often the artistic effects of designers cannot be described adequately by language alone

Tarble Arts Center Newsletter June-July 2001

https://thekeep.eiu.edu/tarble_newsletter/1118/thumbnail.jp

Wearables and Choreosonic Gesture

Wearables worn by sound artists tend to reveal more about the aesthetics of the technology in-forming the aesthetics of the design, sensors, switches and actuators all visible. Danjoux’ s work with the DAP-Lab initially foregrounded some of the technologies visually in her design concepts, but more recently has avoided an explicit technologized look, returning to the softness/tactility of things rather than wires, switches and controllers. Danjoux discusses specific design concepts for wearables and “dysfunctional” fashion, in regard to choreography and interactive systems or instrumental architectures developed by the DAP-lab’s artistic productions – experiments with choreosonic gestures and affective interfaces (examples will be shown on film, referencing UKIYO [Moveable Worlds],2010, and for the being [Victory over the Sun],2014). Briefly analyzingfilm excerpts from DAP-Lab’s audible and biosensory choreography, Danjoux will conclude with some reflections on notions of fashion technology’s morphing and shape-shifting power, but also address the poetics and retro-garde politics of the work and its emphasis on corporeal noise, and noisy disalignments of control technologies