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Editors’ note
Rendell’s 2006 seminal text Art and Architecture has the subtitle of ‘a place between’, a fitting theoretical springboard into this issue on the two praxes and how they interact and also for EDGEcondition as a publication that looks at what is in the spaces between architecture and other professions and how they operate. There is an assiduous dialogue between art and architecture but both can operate as singular practices, the conversation not always to each other, but to the side or past each other. Nonetheless, the boundaries between art and architecture blur and inform each other and it is with this in mind that our Art and Architecture issue was devised.
The practice found in artists such as Jeanne van Heeswijk’s IJburg, a residential area on a cluster of manmade islands outside of Amsterdam, are resonant of such a blurring, where art is infused in a build project to inform its design as a human space, not ‘devised in the conference room and on the drawing board.’ Operating from a house in Housing Block 35, Het Blauwe Huis, from 2005 to 2012, Jeanne invited artists to join the IJburg residents in a continuous conversation, a research and development process, the outcomes of which shaped the lived experience of the area. Questions were around how a new locale takes its material and cultural form, how space is used and (re)appropriated, taking place in a durational performative art situation: ‘This combination of location and a particular moment in time, coupled with the opportunity to be temporary residents of IJburg, offers participants an ideal platform for studying, acting on and co-designing its public space. By describing and simultaneously intervening in everyday life in this area, Het Blauwe Huis facilitates the acceleration and intensification of the process of developing a cultural history.’
The blurring of art and architecture or the space between the two does not have to operate at such a scale, at such depth or over such a timeframe however. This issue sees articles from people across the art and architecture spectrum that work in myriad ways, from diverse inspiration points to equally diverse ends, from the photo essays of ostensibly arts spaces both public and private, to the presentation of architecture as exhibition to the public, and to the programming of art into built space.
Our next issue is ‘Teaching the Future’, focusing on architecture education from primary school to graduation and outside of such a formal education, with thought-pieces on what architecture could and should be, looking at the pedagogy of its teaching, its gaps and what skills need to be taught to equip our next generation of built environment professionals. Teaching the Future will be issued on 27th November, its deadline at the start of that month; if you wish to contribute, please contact us here.
Cara & Gem.
Rendell’s 2006 seminal text Art and Architecture has the subtitle of ‘a place between’, a fitting theoretical springboard into this issue on the two praxes and how they interact and also for EDGEcondition as a publication that looks at what is in the spaces between architecture and other professions and how they operate. There is an assiduous dialogue between art and architecture but both can operate as singular practices, the conversation not always to each other, but to the side or past each other. Nonetheless, the boundaries between art and architecture blur and inform each other and it is with this in mind that our Art and Architecture issue was devised.
The practice found in artists such as Jeanne van Heeswijk’s IJburg, a residential area on a cluster of manmade islands outside of Amsterdam, are resonant of such a blurring, where art is infused in a build project to inform its design as a human space, not ‘devised in the conference room and on the drawing board.’ Operating from a house in Housing Block 35, Het Blauwe Huis, from 2005 to 2012, Jeanne invited artists to join the IJburg residents in a continuous conversation, a research and development process, the outcomes of which shaped the lived experience of the area. Questions were around how a new locale takes its material and cultural form, how space is used and (re)appropriated, taking place in a durational performative art situation: ‘This combination of location and a particular moment in time, coupled with the opportunity to be temporary residents of IJburg, offers participants an ideal platform for studying, acting on and co-designing its public space. By describing and simultaneously intervening in everyday life in this area, Het Blauwe Huis facilitates the acceleration and intensification of the process of developing a cultural history.’
The blurring of art and architecture or the space between the two does not have to operate at such a scale, at such depth or over such a timeframe however. This issue sees articles from people across the art and architecture spectrum that work in myriad ways, from diverse inspiration points to equally diverse ends, from the photo essays of ostensibly arts spaces both public and private, to the presentation of architecture as exhibition to the public, and to the programming of art into built space.
Our next issue is ‘Teaching the Future’, focusing on architecture education from primary school to graduation and outside of such a formal education, with thought-pieces on what architecture could and should be, looking at the pedagogy of its teaching, its gaps and what skills need to be taught to equip our next generation of built environment professionals. Teaching the Future will be issued on 27th November, its deadline at the start of that month; if you wish to contribute, please contact us here.
Cara & Gem.