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Under the cantilevered stairway, a newly disclosed tokonoma alcove holds a chrome-yellow ikebana arrangement by Kyoko Oshiro, arranged in a vessel sourced from a cupboard drawer. Before even crossing the threshold, you are met with sincerity, with irony, a call to healing, a call to brokenness – everything is bounded, enmeshed, built in together. Pause on the sidewalk to observe the non-human audience drawn to Terremoto’s cast concrete water bowls the sound of a fountain by Charlap Hyman & Herrero issues from an upper level, and as you walk under the cartoonish ceramic house numbers – PapiBoyBabyBoy’s flip on the ubiquitous “Neutra numbers” – it’s clear that there’s no dominant tone to the exhibition.
#Limits of stella architect series#
The house is a productive framework for the exhibition, providing a series of platforms and levels, limits and mirrors, open spaces and botanical entanglements that invite new ways of thinking and making. Organised by artist Erik Benjamins alongside Heidi Korsavong and Benjamin Critton of the art and design gallery Marta, Built In presents new work by 32 Los Angeles creative practitioners, each responding to the peculiar qualities, constraints, and opportunities of the VDL House – originally built as the family home and studio of the modernist architect Richard Neutra. The title of the exhibition, Built In, at the Neutra VDL House reveals the slippery physicality of the term, oscillating between action and object, concept and sensation.
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By definition unobtrusive yet playfully performative, the built in makes itself known in rhythms of tactility: the slot and click of a translucent paper screen, the pneumatic whoosh of a wall-installed couch, the tap and purr of a panel that reveals a parallel universe of storage space. The built in represents efficiency, integrity, necessity – the possibility of a domestic addition that emerges as a natural outgrowth of a building, and may just as freely recede back into it. Johnson felt the building had the quality of a living thing.There is something distinctly satisfying about the concept of the built in: an object or item of furniture embedded within the architecture of a home. The name of the building is an adaptation of the “monster,” a phrase for the building that resulted from a conversation with architecture critic Herbert Muschamp. This building, constructed of modified gunnite, is the closest to Johnson’s thinking about sculpture and form at the end of his life – what he called the “structured warp.” This architectural direction using warped, torqued forms is far from the rectilinear shapes of the International Style.
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In particular, he claimed his Crystal Cathedral in Southern California was also the outgrowth of re-examining Finsterlin. German Expressionism, an early twentieth-century movement, had influenced Johnson’s thinking on the architecture of the past. Finsterlin was known for fantastic designs that stretched the limits of architectural form.
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In fact, when Johnson first madea model of this structure, he named it “Dresden Zwei,” or “Dresden Two,” and presented it to Stella.Īlways steeped in history, Johnson also cited the work of German Expressionist Hermann Finsterlin as a source of inspiration. However, Johnson claimed that his original inspiration for Da Monsta came from the design for a museum in Dresden by artist and friend Frank Stella. Philip Johnson was a friend and supporter of both Frank Gehry and Peter Eisenman – the influence of both seems evident in the non-Euclidean form of Da Monsta.