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Full-Text Articles in Arts and Humanities
Modernism Remodeled: Branding The Image Of Modernism In Dwell Magazine, 2000–2010, Lauren Gallow
Modernism Remodeled: Branding The Image Of Modernism In Dwell Magazine, 2000–2010, Lauren Gallow
Lauren L. Gallow
Dwell magazine is not a magazine and it is not about architecture. Often grouped in the shelter magazine category, Dwell describes itself as somewhere between an architecture trade publication and a consumer shelter magazine, pulling successfully from both of these audiences to form its current circulation base of 341,000. In an analysis of the ten-year history of the Dwell brand—which includes the magazine as well as several other branding outlets, including a website, a design show, and even a line of Dwell prefabricated houses—this project examines how the Dwell company has created and insistently promoted a lifestyle based on the …
Art-Itecture: Exploding The Boundaries Between Art And Architecture, Lauren Gallow
Art-Itecture: Exploding The Boundaries Between Art And Architecture, Lauren Gallow
Lauren L. Gallow
In his 1970 book Experimental Architecture, Archigram co-founder Peter Cook writes, “In this century there have been several occasions when science, technology and human emancipation have coincided in a way that has caused architecture to explode.” This image of an exploding architecture can be read in several ways: as a challenging of architecture’s disciplinary boundaries, as a new idea of architecture altogether, or as a building literally exploding into fragmented pieces because of its perceived obsolescence. No matter the specific interpretation, Cook’s statement captures a widespread yet often overlooked trend of the twentieth century wherein architects and artists attempted to …
Staging Nationalism At The Crystal Palace: Prince Albert's "Model Dwelling House", Lauren L. Gallow
Staging Nationalism At The Crystal Palace: Prince Albert's "Model Dwelling House", Lauren L. Gallow
Lauren L. Gallow
At the Great Exhibition of 1851 in London, British nationalism was staged both inside and outside the walls of the Crystal Palace. Inside, industrial products from around the world were put on display to celebrate the wonders of modern industry. Perhaps a more important purpose of the exhibition, however, was to establish British national pride through comparison to other nations. Britishness inside the Crystal Palace was defined by the nation’s primacy in industry—an identity that hinged on the exhibition of the commodity. Outside the Crystal Palace, a subset of this British identity was also being demonstrated. Near the southeast corner …