Site-Writing

Rendell, J

doi:10.5040/9780755697533

Cited by 46 publications

(13 citation statements)

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“…33 Rendell's work is, in Deleuzian terms, avowedly minoritarian, concerned with that which escapes and resists the dominant discourse, and does so in terms of an "enigmatic message" which in maintaining ambiguity allows place for the cool operations of "the interrelations between location, identity and knowledge." 34 Rendell makes reference to thinkers of Situated Knowledge and Standpoint Theory; again, what is notable about these particular feminist theorists is the coolness of their position. As Jane Flax notes in clarifying this issue:…”

Section: Figurementioning

confidence: 99%

“…This ongoing territory of architecture is a space in which the architectural book comes to interplay with the work in a critical manner, rather as Rendell speaks of a "reconfiguring [of] the relationship between criticism and practice." 39 But I think we can frame Macken's work in a different manner, a manner that instead of transforming our concept of representation jettisons it entirely. In Deleuze's terms, representation is always suspect.…”

Section: Figurementioning

confidence: 99%

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Are We So Sure It’s Not Architecture?

Gough¹

2016

Architecture and Culture

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This essay deals with the question as to whether architecture pre-exists its representations. The tension between architecture and what Marshal McLuhan shows is the dominant framework of Western thought -the pervasiveness of a linear, typographic way of thinking -is explicated, and the position of the architectural book, its avantgarde possibilities and the relation to the new "electric" spaces of information is discussed. The conclusion is drawn that if we are fully to take into account the coolness (in McLuhan's terms) of architecture, then this requires an overturning of the notion of representation within architectural discourse. Architecture: Media Constructions (2002) leave the reader in no doubt as to the status of architecture vis-à-vis the book. Two chapters in Kester Rattenbury's This is Not1 Alan Powers writes: "The printed book was used to communicate architecture as soon as it became available in the late fifteenth century, and is still being used today." 2 The key underlying assumption of Powers' text -the frame or background theory 3 within which he securely works -is clearly displayed in this first sentence: architecture is distinct from the printed book, and pre-exists it. The purpose of the book is to communicate -to get across a content that already exists. The exact status of the pre-existence of architecture varies. In some cases the architectural book will display for the reader works that are already built, ones which exist in the physical world. In other cases, the architectural book will display "drawn," "theoretical," "utopian," or otherwise non-physically present constructions; the pre-existence of these items occurs not as built objects but as creations in the mind of the relevant architect. But pre-exist they do. Powers' analysis runs from late fifteenth-century treatises through to the Architectural Association (AA) Folios of the 1980s and OMA, Rem Koolhaas and Bruce Mau's S,M,L,XL (1995). 4 Powers notes that Daniel Libeskind's Theatrum Mundi (1985), was the first of the folios; 5 other important examples include La Case Vide by Bernard Tschumi (Figure 1) and Fin d'ou t hou s by Peter Eisenman (Figure 2). These were also published in 1985;6 the following year saw perhaps the most beautiful of all the AA boxes, Eisenman's Moving arrows eros andother errors (sic) (1986), the exquisite presentation of his Verona Romeo and Juliette project in a Perspex box printed on transparent sheets (Figure 3). 7 All the examples of architectural books are placed by Powers within the conceptual frame -which is also a temporal and logical frame -mentioned above. With an art historian's scrupulousness, the dramatic change in typographical habits -for instance, the fact that OMA et al.'s book is designed, by Bruce Mau, more like a magazine (as Powers puts it) -is mentioned, although no speculation as to either the reasons or the implications of this is permitted to occur. The extraordinary designs of the AA Folios -some of which, such as Light Box by Daniel Weil, resemble tool boxes more t...

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Section: Figurementioning

confidence: 99%

Section: Figurementioning

confidence: 99%

Are We So Sure It’s Not Architecture?

Gough¹

2016

Architecture and Culture

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“…conditions the urban landscape', as the artist puts it with regard to her piece Guided Tour (1999)(2000)(2001)(2002), but also, as Jane Rendell adds, an instance -even if Folkestone itself is more urban municipality than city -of 'the work fram[ing] the city and the city fram[ing] the work, both providing guides to one another'. 6…”

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confidence: 99%

Folkestone perennial: the enduring work of art in the re-constitution of place

Whybrow

2016

cultural geographies

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Ostensibly contemporary art biennials seek to engage with the places that host them, yet frequently they are viewed critically as elitist 'art world' events that are disconnected from their localities. The aim of this article is to establish how public art works in a given context, both as part of a format prescribed by the art event and in its potential to intersect with the intricate, contingent and varied constellation of the urban location in question. It addresses this central tension by examining the case of Folkestone, a town on the south Kent coast in the UK that once enjoyed a thriving identity as both seaside resort and gateway to Europe. From the 1960s onwards a gradual decline set in with the advent of mass global travel, culminating in the deathblow that was dealt by the nearby Eurotunnel's inauguration towards century's end, which signalled the end of the town's ferry link to the continental mainland. A concerted attempt has been underway for a decade now to revitalise the town using the arts, creative industries and education as the drivers of regeneration. One of the main initiatives in this endeavour was the introduction in 2008 of the Folkestone Triennial, a three-month summer event in which high-profile international artists were commissioned to produce sited artworks for the town, turning it into a form of urban gallery. With successive Triennials occurring in 2011 and 2014, and several works from all three being retained as permanent acquisitions, this article takes stock of the impact of these artistic engagements with the town, showing how, as an ensemble, they interact with one another and asking whether they have the capacity to contribute to a reconstituted identity for Folkestone in an integrated and lasting way. 2

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“…My own ‘practice of ethics’ began back in January 2013, when I questioned UCL’s decision to accept $10 million of funding from the Anglo-Australian multinational mining and petroleum company BHP Billiton to create an International Energy Policy Institute in Adelaide, and the Institute for Sustainable Resources in London at the Bartlett Faculty of the Built Environment, of which I was then Vice Dean of Research. My questions started a process which is figured here as a site-writing, articulated through two registers: bios – a set of diary entries noting personal anxieties and hopes related to my institutional role at UCL, and logos – an attempt to relate these issues to the development of my own intellectual work and concepts concerning ethics and critique generated by others (Rendell, 2010).…”

mentioning

confidence: 99%

“… 7. Elsewhere I have called this form of criticism – as critical spatial practice – ‘architecture-writing’ and ‘site-writing’ (see, for example, Rendell, 2005a, 2005b). …”

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confidence: 99%

Giving an Account of Oneself: Architecturally

Rendell¹

2016

Journal of Visual Culture

Self Cite

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In January 2013, I questioned the decision of my employer, UCL, to accept $10 million of funding from the Anglo-Australian multinational mining and petroleum company BHP Billiton to create an International Energy Policy Institute in Adelaide, and the Institute for Sustainable Resources in London at the Bartlett Faculty of the Built Environment. At the time, I was Vice Dean of Research and my questions started a process which is figured here as a site-writing, articulated through two registers: bios – a set of diary entries noting personal anxieties and hopes related to my institutional role at UCL, and logos – an attempt to relate these issues to the development of my own intellectual work and concepts concerning ethics and critique generated by others.

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Site-Writing

Cited by 46 publications

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Are We So Sure It’s Not Architecture?

Are We So Sure It’s Not Architecture?

Folkestone perennial: the enduring work of art in the re-constitution of place

Giving an Account of Oneself: Architecturally

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