Error: API requests are being delayed for this account. New posts will not be retrieved.
There may be an issue with the Instagram access token that you are using. Your server might also be unable to connect to Instagram at this time.
Error: API requests are being delayed for this account. New posts will not be retrieved.
There may be an issue with the Instagram access token that you are using. Your server might also be unable to connect to Instagram at this time.
Error: API requests are being delayed for this account. New posts will not be retrieved.
There may be an issue with the Instagram access token that you are using. Your server might also be unable to connect to Instagram at this time.
Luke Tipene
https://www.tandfonline.com/doi/full/10.1080/13602365.2020.1806337
Abstract
This article explores the critique of modernity performed by the unbuildable architectural drawings of Lars Lerup. Focusing on a single drawing entitled ‘The Opening’ (1980), it questions how uncertainty in architectural drawing can operate discursively to interrogate the functional concerns of representational accuracy. The article considers the contribution of this drawing to Lerup’s unbuilt Nofamily House project (1980–1981) and examines his commentary on the 1978 MoMA retrospective on Swedish architect Gunnar Asplund (1885–1940). In so doing, it demonstrates the impact of Asplund’s work on Lerup’s thinking via commentaries on Asplund in the postmodern critique of the 1970s and 1980s. Through a comparative analysis of the drawings for Asplund’s Villa Snellman (1917–1918) and Lerup’s Nofamily House, the article argues that both architects developed parallel processes to critique either end of the twentieth-century modern project by using unbuildable elements in their drawings. Both Asplund’s and Lerup’s projects evidence the gap of uncertainty between drawing and building, as identified by Robin Evans. They contest the functional subjugation of the drawing to the building and question the homogeneity of modernity’s rationalist ideology. Finally, the article demonstrates that Lerup’s interpretation of uncertainty was a unique method of provocation in drawing that foregrounded the individuation of making meaning in architecture. In a manner that was distinct from the populist reductive ideas of metaphoric interpretation during the 1970s and 1980s, Lerup used unbuildable architectural drawings to establish a dialogue of interpretation between the drawing and the viewer. This empathetic method of making meaning confirms Evans’s assertion that drawing connects to architecture by engendering its imaginary forms with meaning.