November 12, 2012
pill die
Architecture Pill, Hans Hollein, 1967 (source)
Die Antwoord (source)


Architecture’s legacy of replication and simulation calls into question the entire concept of authenticity. In fact, one could argue architecture is not visual at all, but instead it is the assembly of physical elements to produce a specific effect that is intelligible to the mind. The act of interpreting architecture dissolves form into symbol and experience. It is odor, it is texture, it is reverb. Conventional modes of architectural representation are inadequate if we collectively acknowledge architecture’s inherent complexity.


So if the visualizations architects produce are incapable of accurately describing architecture, how do we as practicing architects reconcile this contradiction? Moreover, what if architects no longer relied upon conventional modes of visual representation as proof of its existence? This debate demands revival. After all, Learning From Las Vegas is approaching its 35th birthday, and parametricism remains a stylized visualization tool used by academics and architects unconcerned with everyday constraints. In other words, while an authentic architecture is a moving target, this should not discourage us from including it in our everyday discourse.


In the 1960’s Hans Hollein used Bau Magazine as a platform to promote the idea that ‘Everything is Architecture’, a paper-revolt with a relevance echoed by… more


Distance can offer a clear perspective on a subject, but it can also be obfuscating.


When I watch Die Antwoord videos, while seduced by the highly produced worlds that they create, I am continually met with a sense that I am missing some crucial content, owing to our respective contexts. This leaves me to wonder how I would respond to their work if I was able to meaningfully navigate the details of their cultural references.


This South African group’s recently released single ‘Fatty Boom Boom’ is being cast as controversial, Lady Gaga references aside, for including blackface in its video. This is a concept with American roots, that the duo—who are always in character, further complicating any interpretation of their work—claim they are unfamiliar with.


As representations circulate around distinct and distant territories, they may remain fixed, or they may acquire varied meanings despite sharing a common provenance. Some may engage an archetype following a transformation, when its origin is perhaps less apparent and seemingly detached, while others may make references unknowingly. Given the complexity embedded within any reference, they are ultimately unstable and call into question what is authentic.


Corbin Keech



Erandi de Silva


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