Postmodernism and the return to drawings

  • Data: 24 APRILE 2020  dalle 16:00 alle 18:30

  • Luogo: Live streaming su Microsoft Teams

  • Tipo: La Soffitta


Véronique Patteeuw (ENSA Lille, KULeuven)

nell'àmbito del ciclo di conferenze
Pensiero esibito. Le mostre di architettura
a cura di
Anna Rosellini, Annalisa Trentin e Fabio Massaccesi

L'evento è trasmesso in live streming tramite Microsoft Teams
vai all'evento 

What makes exhibitions specific to the postmodern period? Is there such a thing as a postmodern exhibition? And to what extend were the postmodern media fundamental to the development of postmodern architecture? If in the modern period, the media played an important role for architecture’s becoming, in the postmodern period they became intertwined. Three exhibitions, organised between 1975 and 1984 testify to this fact. "Architecture of the École des Beaux-Arts" (MOMA, 1975), "Roma Interrotta" (Incontri Internazionali d’Arte, 1978), "Revision of the Modern: Postmodern Architecture 1960-1980" (DAM, 1984) are not only considered cornerstones of the historiography of postmodern architecture, they represent the cultural turn of the 1980’s in its relation to the display of architecture. While the mediatisation of postmodern architecture contributed to a large extend to blurring the boundaries between content and container, these exhibitions testify to the (theoretical) construction of postmodern architecture, through the relentless act of exhibiting.

Dr. Ir. Architect Véronique Patteeuw (1974) is maître de conférence at the École Nationale Supérieure d’Architecture et du Paysage de Lille and visiting professor at KULeuven. She was a visiting professor at Harvard GSD, Rotterdam Study Abroad Program and lectured at Columbia University New York, IIT Chicago and EPFL Lausanne amongst others. Since 2005, she is the academic editor of "OASE, Journal for Architecture". Patteeuw’s work focuses on the history and theory of architectural representation and the history and theory of postmodern architecture. Her phd entitled “Architects without Architecture” questioned the role of architectural journals as spaces of architectural production in the decade preceding 1968 at the École des Beaux-Arts (Paris). She recently co-edited "Critical Regionalism Revisited" (NAi Publishers 2019), "The Architecture of the Architecture Magazine" (NAi Publishers, 2018), and "Mediated Messages: Periodicals, Exhibitions and the Shaping of Postmodern Architecture" (Bloomsbury, 2018). She currently conducts research on the collages of OMA as forms of architectural production.


Immagine: The Architecture of the École des Beaux-Arts, MOMA, 1975-1976.