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Architectural Exhibitions: Identifying a critical practice

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Architectural Exhibitions: Identifying a critical practice


Alice Haddad

In an era characterised by the institutionalisation of crossboarding practices in arts and architecture and the blur of these domains in the now globalized a-critic information systems, this abstractmiscellaneous word choice problem 1 focuses on the specificity of architectural exhibitions and how they draft a fertile ground to reconsider architecture as a critical production. paragraph length the popularity of architecture increased drastically. From the specialised journals to regular newspapers and popular gazettes, all began to publish numerous polished images of the most extravagant architectural projects produced worldwide. In parallelidiom, however, the field of architecture seems to be marked by the absence of critical discussion on the role of architectural objects as cultural statements or as exponents of particular urban, social and political visionsquoting
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thanmiscellaneous word choice problem they generally stay in the confines of academic or experts privileged circles. To overcome this situation, the exhibition space, whether in cultural institutions or less established organisations, may constitute an opportunity2. As an interstitial territory, its aim is to create a dialogue between objects of culture sorted out by specialists and a large audience within a particular physical and temporal context. As such, the major and implicit function of an architectural exhibition is its communicative dimension considered as a tool to mediatisemiscellaneous word choice problem architecture. A decisive pattern appears in this mediation through the intermingled relationships between the audience and the exposed objects, and furthermore, between the exhibition space and its context a pattern perceived as a dispositive (Foucault, 1967)referring
conventions

of mediation. It is this complexity of mediums and the plurality of messages they generate that reveals the

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Architectural Exhibitions: Identifying a critical practice

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exhibition as a meaningful and productive vehicle in the realm of architectural criticism. Nevertheless, not every exhibition is to be considered as fulfilling this specific agenda. A pragmatic methodology, neutral and engaged, as applied by the French sociologist Nathalie Heinichreferring conventions, appears as an engaging strategy to explore and analyse past exhibitions, which present the premises of a critical practice in the architectural discipline.

Many interesting thoughts, sophisticated, however, at times hard to process. You need to work on the clarity of expression. 1. essay 2. for what?

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