The Garden of Crisis: Understanding how we inhabit the mesh of industry, occupation and nature by unmasking its material flows, detritus, and surplus product through proposition and making.
2014 (English)In: PAUSE. CUT. FOLD. FLY. Dissident Architecture Devices, 26 & 27 October, 2014: PhD Research Seminar, 2014Conference paper, Presentation (Other academic)
This paper examines Sigurd Lewerentz "Poster no.2" designed under direct commission by the exhibition committee but was reject for official purposes. The poster is composed as a complex catalogue of exhibition elements arranged around the Exhibitions famous "L" logo, derived from an Egyptian winged god, showed nuanced layering of the relationship between an emerging Swedish modernism. Unlike the official Poster No.1 which was reduced to the simple text "1930" a statement on the notion of the moment of change set in Lewerentz futuristic type font Poster no.2 presents multiple view points from which to consider the arrival of Swedish Modernism. In order to analyse the poster a study of the pictorial content of the modernist manifesto "Acceptera" was undertaken from which themes are cross referenced and super imposed back into the composition of Poster No.2.
Place, publisher, year, edition, pages
Research subject design; Aesthetics
IdentifiersURN: urn:nbn:se:umu:diva-108309OAI: oai:DiVA.org:umu-108309DiVA: diva2:852261
Umeå School of Architecture Midterm PhD Candidates Review,