Catálogo de publicaciones - revistas

<jats:title>Abstract</jats:title><jats:p>Some of Lebbeus Woods's formative years were spent on the ‘flat, treeless plain’ at the University of Illinois School of Architecture and at various home and studio addresses in Urbana‐Champaign. Architectural historian <jats:bold>Sharon Irish</jats:bold> describes the dynamic setting of this urban stage and Woods's personal and professional preoccupations of the time.</jats:p>

<jats:title>Abstract</jats:title><jats:p>A life‐long beacon for Lebbeus Woods was his understanding of the ideas of second‐order cybernetics and attempts to assimilate them into his architectural projects. An introduction to this discourse was provided in Urbana‐Champaign in the early 1960s by his most important intellectual mentor, cyberneticist Heinz von Foerster. Poised at the intersection of architecture and cybernetics, <jats:bold>Ben Sweeting</jats:bold> charts some of the lines of their interactions and friendship.</jats:p>

<jats:title>Abstract</jats:title><jats:p>The American Midwest with its own architectural histories and topologies may be termed a land of few walls. Architect <jats:bold>Kevin Erickson</jats:bold> examines Lebbeus Woods's relation to this landscape and the genesis of his preoccupation with walls, not as protectors of boundaries, but as sites of dialogue and collaboration. Rather than mere surfaces for large paintings, walls – new or abandoned – invite reflection on the relationship between art and architecture.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Vivid colours, commedia dell’arte, collage and hypergraphics, and villae jutting out of the cliffsides designed for the unknown dwellers – are these projects postmodern? American art, architecture and design critic <jats:bold>Aaron Betsky</jats:bold> investigates this question and its context, focusing on the V.I.P. Center Shopping Mall, an unbuilt scheme that was to win Lebbeus Woods his first professional acknowledgement under the auspices of the Progressive Architecture Award.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Lebbeus Woods's extraordinary proficiency and mastery in different media was matched by his steady and fast pace of exploration. <jats:bold>Riet Eeckhout</jats:bold>, a drawings researcher and drawer herself, who teaches at KU Leuven, ponders this dexterity. Her focus is on the rigour of Woods's early works produced in Mylar and pastels, and on the carefully delimited spatial vocabulary – agency obtained through the capacity of the drawing to function outside explicit representation.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Visiting Italy in 1978 as part of his own Grand Tour, Lebbeus Woods was able to see some of the treasures of the Renaissance and the Baroque. The ensuing mix of reality and imagination prompted the Editors of this 2, <jats:bold>Aleksandra Wagner and Neil Spiller</jats:bold>, to consider the visual travelogue –Cityscapes – in a similar manner, combining speculation and truth.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Many of the 1970s’ drawings of Lebbeus Woods feature disguised human form. The most classical physiognomies maintain links with a primordial, even reptilian antipode. <jats:bold>Lawrence Rinder</jats:bold>, Director Emeritus of the University of California, Berkeley Art Museum and Pacific Film Archive, explores the manifestations of figure in Woods's private mythology, and points to the uncanny synergy of its themes and compositions with works by Giambattista Tiepolo.</jats:p>

<jats:title>Abstract</jats:title><jats:p>In the late 1970s, Lebbeus Woods embarked on an ambitious project: to depict Richard Wagner's The Ring Cycle. <jats:bold>Jörg H Gleiter</jats:bold>, Professor of Architectural Theory at the Technical University Berlin, takes us through the intersected worlds of music, drama and visual expression, suggesting that both Wagner and Woods are critics of Enlightenment. Exploitation of Earth, greed and envy are the beginning of the End, for Wagner. A century later, Woods extends this negative mythology.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Where is one's voice to be found? Not all architects search for it in both drawing and writing. <jats:bold>Eliyahu Keller</jats:bold>, an architectural historian working at the Technion – Israel Institute of Technology, examines one of Lebbeus Woods's distinct early tropes: an ever‐tense continuum between the image and the text. His ocular reading of Woods's scripts diagnoses their involvement with a darkness of an age, not its light.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Polymorphism was an important tactic used by Woods to render objects and spaces in the process of transformation and transmutation. <jats:bold>Ashley Simone</jats:bold>, Associate Professor at the Pratt Institute School of Architecture in New York City, explores the terrain where materiality meets change, where fantasy supplants reality. Her prime example is the suite of drawings for the ‘AEON’ project.</jats:p>