The second Q.E.D. II emphasized R. M. Schindler’s definition of “space architecture” as a way of thinking through questions of gender. Curator Kim Rosenfield associated the “radical flow” of the Schindler House with the way her work, and that of the panelists’, engages with these questions. Rosenfield chose Yedda Morrison and Vanessa Place as her fellow panelists, and Andrea Quaid moderated.
Ecopoetics as remaking the household (oikos) may entail moving out of the house altogether, a shift from home-making to camping. For instance, in a remarkable (and painfully ironic) appropriation of refugee architecture, an urban tent city lines the median of Rothschild Boulevard in Tel Aviv—middle class Israelis protesting the high cost and scarcity of housing. (There are plans afoot for a similar occupation of Wall Street.)
One of the best “art shows” I saw in recent years was the exhibit Into the Open, the official United States representation at the 2008 Venice Biennale. (I caught it at the New School, in NYC; the Slought Foundation also ran it in Philadelphia.)
This show indicted modernist architecture as “an aesthetic style—an abstract form in a landscape, photographed aerially and devoid of social relations[, whose i]conic buildings, formalism, and myopic obsession with the upper class . . . became the hallmarks of much American architecture.” Into the Open’s installations ask architecture “to mitigate its current celebrity obsessed approach, encouraging instead a new type of collaborative thinking about design and space that highlights local, periphery, and even edge conditions.”