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HgD
URBANI IZZIV
vol. 14, No. 2/03
pela
te constructively - it is possible, according to HUDNIK
an optimistic
prognosis, to decrease the elemental force that is present
in space at the moment. Architecture
and communication
Assist, prof. Tadeja. Zupani Strojan, Ph.D., architect,
University of Ljubljana, Faculty of architecture, Ljubljana
E-mail: tadeja.zupancic@arh.uni-lj.si
Matev Juvani, architect, Arhiteka d.o.o., Ljubljana
1. Introduction
E-mail: matevz.juvancic@kiss.uni-lj.si
Ideas about popular culture are tightly connected to theories
of mass culture. The latter even more so with Marchall Mc-
For sources and literature turn to page 43.
Luhan's legendary quotations: the media is a message
Notes: and the world is a global village, which are being unstop-
HI W. M. Eysenck, M. Keane, 2000: 244. pably and quickly achieved with the ongoing revolution in
electronics. Richard Hamilton, the British pop-artist descri-
I2! K. Rattenbury, 2002:1
bes the new aesthetics of the sixties - pop culture - as po-
l3l A. Perez-Gomez, 2002: 3.
pular, transitional, consumerist, cheap, massive, youthful,
I4! H. Hertzberger, 1991.
funny, sexy, glamorous and commercial. The sixties were
I5! K. Rattenbury, 2002: XXI, XXIII.
therefore the time that had the strongest influence on the vi-
i6l A. Voigt.et.al., 2002.
sion of the future. It was a time that bridged the gap bet-
m G. Ucelli et al, 1999:539. ween architecture and other artistic fields. It was the time of
I8] A. Obeid in A. F. Ibrahim, 1999: 33.
popular culture that was full of symbols and metaphors, new
l9l P. Bosselman, 1998. visual sensibility, which demanded changes, pleasure and
l1] T. Zupani Strojan, 1999: 107. novelties. New technologies evolving from completed pro-
i11! T. Dierckx et.al, 2002. jects by NASA, development of the media, science fiction
and pop culture influenced the mergence of futuristic fas-
Illustrations
hion, design, art, music, city planning and urban regenera-
Figure 1: Conceptual presentations tion. The terms mass society, communication and consume-
The group of conceptual presentations usedrism in were given significance even in architecture. This was
the research (Presentations prepared on thethe in-first time that an entire generation of artists and archi-
ternational urbanism workshop in Komen 2001, tects worked globally and despite geographical differences
supplemented, and alternated for the needs(London of - Archigram, Vienna - Coop Himmelblau, Hollein,
the research). Missing Link, Haus-Rucker-Co, Florence - Archizoom, Su-
Figure 2: Experience based presentations perstudio, Tokyo - Metabolits etc.) offered common visio-
The group of experience based presentations nary concepts about cities and architecture. Influenced by
used in the research (Presentations preparedAndy on Warhol, Cleas Oldenburg, Roy Liechtenstein and Tom
the international urbanism workshop in Komen Wesselmann, the most distinguished representatives of pop
2001, supplemented, and alternated for the art, they projected their visions by various media (collage,
needs of the research). film, performances, installations, newspapers, posters). War-
Figure 3: Architects choice: hol reproduced millions of icons of the media society and
The group of presentations according to the choi- became the trademark of Coca Cola, Campbell, Brillo and
ce of the planner - a mixture of conceptual and other commercial products. In the film Barbarella (1967), di-
experience-based presentations (Presentations rected by Roger Vadim, Paco Rabanne dressed Jane Fon-
prepared on the international urbanism workshop da in a metal dress. A fantastic world of sensible, sensitive
in Komen 2001, supplemented, and alternated and tactile surfaces and soft organic plastic forms was offe-
for the needs of the research). red by Olivier Mourgue and Andr Courrges for the psyche-
Figure 4: Research - questionnaire delic landscape in Stanley Kubrick's film 2001: A Space
Interviewees were faced with a web questionnai- Odyssey (1968). The Poster Dress with Bob Dylan as its
re. The left side contained a group of presenta- motif, the modular system of chairs and interiors by Verner
tions, and the right a group of closed, and semi- Panton, Pierre Cardin's space-age hat and spherical TV sets
open, questions. and chairs, designed by Eero Aarnio, represent innovations
that are founded on technological promotion of the consu-
merist society. Consumerism and technology became the
providers of human needs and desires.
104
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QEED
The image of city in popular culture WK
vol. 14, No. 2/0
105
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CSHgD
^1 URBANI IZZIV
vol. 14, No. 2/03
106
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IlgD
The image of city in popular culture
vol. 14, No. 2
107
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3BD
URBANI IZZIV
Roberto ROCCO
l15l Novak, M.: Transmitting Architecture. transTerraFirma/Tids-
vagNoll v2.0. In: AD: Architecture in Cyberspace. Academy
Edition, London, No. 118, 1995, p. 45.
I16l Oosterhuis, K.: Research survey. In: Hudnik, .: Mobilna ar-
The image of the city Sao
hitektra in monosti njene uresniitve v relnem svtu,
doktorska disertcij, Univerza v Ljubljani, Fakulteta za ar-
Paolo - Identity and crisis
hitektra, Ljubljana, 2003, p. 181.
I17l Novak, M.: Transarchitectures and Hypersurfaces. Opera-
tions of Transmodernity. In: AD: Hypersurface Architecture.
Academy Edition, London, No.133, 1998, 1. Introduction
p. 87. - Brazil builds
I18] Zellner, R: Hybrid Space. New Forms in Digital Architectu-
re. Thames&Hudson, London, 1999, p. 112. In 1943, the MoMA of New York opened a spectacular pho-
l19l Rifkin, J.:The Biotech Century. Phoenix, London,
tographic 1998, p.named
exhibition 188. Brazil Builds: Architecture New
I2] Lynn, G.: Folds, Bodies & Blobs. La Lettre
and Old Vole, Bruselj,
1652 -1942. Organised by architect Philip Good-
1998, p. 170. win, of MoMA International Relations Commission, and G.
I21! 99 Francs (French edition); 14.99 Euros (EU edition),
E. Kiddersmith, one of9.99
the greatest photographers of archi-
pounds (English edition). tecture in the XX century, the show introduced to the world
what was then one of the most resourceful and original arc-
For literature and sources turn to pages 51 and
hitectural 52. in existence.
movements
Figures (page 46 and 47) It was not a small surprise for art and architecture critics to
1. Coop Himmelblau: Villa Rosa, 1968 find out that one of the largest and most paradigmatic mo-
2. Yuri Gagarin, 1968 dernist architectural projects had been carried out in Rio de
3. 2001: A space Odyssey, 1968
Janeiro. In 1936, young architect Lucio Costa, closely assi-
4. Pierre Cardin: Space-age helmet hat, 1966
sted by Le Corbusier himself, had designed the building of
5. Coop Himmelblau: White Suit, 1969
the Ministry of Educationf completed in 1944. It contained
6. Marilyn Monroe, 1962
all elements Le Corbusier claimed for a modernist architec-
7. A space Odyssey, 1 968
8. Deep Blue ture, such as the pilotis, the toit-jardin, the brise-soleil and
9. Screen for direct transmissions the pan-verre (Frampton, 1992: 254)
10. Open air cinema
1 1 . Perception of speed Brazil Builds introduced a whole new generation of young
12. Kisho Kurokawa: Helix City, 1961 architects working feverishly somewhere else than Europe
13. Kisho Kurokawa: Floating Factory Metabonate, 1969 and North America: Oscar Niemeyer, Lucio Costa, brothers
14. Kisho Kurokawa: Box - Type apartments, 1962 Marcelo and Milton Roberto, Afonso Reidy, Gregori Warc-
15. Haus-Rucker-Co: Environment transformer - Yellow Heart,
havchik, Roberto Burle-Marx, Rino Levi, Alvaro Vital Brazil,
1968
among others. The architecture being made in Brazil beca-
16. New Media
me known as the Brazilian School and its exponents
17. Exhibition: Vision of Japan, 1991 were distinguished by specialised critique as a different
18. Pepsi Blue Launch Environment branch of modernism (Segawa, FSP: 30.09.2003).
19. Exhibition: Vision of Japan, 1991
20. The advertisment World
As Frampton (1992) brilliantly summarises: In Brazil, mo-
21. Stephen Perrela: Hyper-surfaces - The Haptic Horizont, 1995
dern architecture had its origins in the mid-20's partnership
22. Toyo Ito: Egg of Wind, 1988-91
23. Advertisment for IBM of Lucio Costa and Gregori Warchavchik, en migr Rus-
24. Media Metropolis sian architect who had been influenced by Futurism during
25. Suitcase - personal space - public image of information his studies in Rome and who had been responsible for the
26. Hussein Chalayan: Coffee Table first cubistic houses in Brazil. With the revolution headed by
27. Matrix Getlio Vargas in 1930 and the appointment of Costa as
28. Distribution head of the schools of Fine Arts in Rio de Janeiro in 1931,
29. Migration Flows modern architecture came to be welcomed in Brazil as a
30. Fashion show: Brave New Unwired World 2000, Charmed matter of national policy (Frampton, 1992: 254).
Technology - model Lizzy As World War II drew to an end, Brazil woke up from the
31 . Electronic artificial limb turmoil of Getlio Vargas dictatorship and emerged as the
32. Chocolate tablet
country of the future. A spectacular economic growth was
33. Marcus Novak: Data - Driven Forms, 1 997-89 starting to come into view. Brazil would soon plunge into a
34. Greg Lynn: blob period of remarkable prosperity and lasting democracy. Mo-
35. Kas Oosterhuis: transPORTs 2001
dern Architecture was intimately related to the project of
36. Recombined body by genetic engineering
modernisation of the country. This culminated in the con-
37. Space suit
38. Maria Blaiss - Kuma Guma
struction of a brand new capital city, Brasilia, in the vast
39. Kas Oosterhuis: transPORTs 2001
unoccupied lands of central Brazil.
40. Scene from the film Lawnmowerman
41 . Lars Spuybroek: Fresh Water Pavillion
Brasilia, planned by Costa, was erected from the scratch in
42. Kas Oosterhuis: Saltwater Pavillion a remarkably short span of time in the second half of the
43. Lars Spuybroek: Fresh Water Pavillion 50's. Its main buildings were commissioned to another
44. Recombined body by genetic engineering young architect who had come into partnership with Costa
45. Greg Lynn: Digital embriologica! models during the construction of the Ministry of Education in Rio,
46. John H. Frazier: The Interactivator Oscar Niemeyer. Frampton recognises that Brasilia, with its
47. Blasteroid inhuman monumentality and intrinsic class separation, led
108
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