scholarly journals Biuer... Chicago! Un argumento surrealista para el McCormick Tribune Campus Center

2018 ◽  
pp. 85
Author(s):  
Daniel Gómez-Valcárcel Gómez

Resumen Se tiende a considerar el McCormick Tribune Campus Center bajo una filiación pop. Sin descartar la evidencia del influjo de Robet Venturi, el artículo argumenta la raigambre surrealista, velada por su colorista y desenfadada retórica. Esta hipótesis no sería incoherente con el aprecio de Rem Koolhaas por las técnicas surrealistas (patentes en Delirious New York) y la apreciación de rasgos surrealistas en su obra temprana por parte de terceros. Se analizan, sobre aspectos concretos del edificio terminado y sobre documentos de desarrollo del proyecto, mecanismos destinados a producir efectos similares a los que los surrealistas perseguían con sus prácticas: la intensificación de la realidad más allá de la pura racionalidad. También sería coherente con el aliento de crítica epistémica que recibe el proyecto de las bases del concurso que le dio lugar, y que motivó la respuesta de Koolhaas mediante el binomio que forman el edificio y su panfleto coetáneo, Junkspace.AbstractUnder its casual and colorful appearance, the McCormick Tribune Campus Center built in 2003 at the Chicago IIT campus by Rem Koolhaas constitutes a perplexing -hard to grasp conceptually- architectural piece. The commission origin was an international competition whose bases demanded a building “equal in stature to Mies van der Rohe’s S. R. Crown Hall” that “will express the architecture of our time”. According to Koolhaas, the building, in which he subverts all kind of disciplinary categories that shape Mies’s work, is a built response to the condition of our time described in Junkspace, a text written in parallel to its construction proccess. The article argues that a surreal halo shines under its pop aesthetic. Being its significance reinforced by Koolhaas’ clear appreciation of the findings of the Surrealists -among whom, especially, Dalí’s paranoid-critical method-, it may constitute a clue of deeper arguments that, steeping the strategy and methodology of the project, contribute to articulate the construct with which its author gives response to the  competition intellectual demands.

Author(s):  
Michele Fiala

Brazilian oboist Alex Klein won a 2002 Grammy Award for Best Instrumental Soloist with Orchestra and first prize at the International Competition in Geneva, the New York International Oboe Competition, and the Fernand Gillet International Competition. From 1995 to 2004, Klein was principal oboist of the Chicago Symphony Orchestra, a position he left after struggles with focal dystonia. He is currently artistic director of the Santa Catarina Music Festival (“FEMUSC”) in Brazil, principal oboe of the Calgary Philharmonic Orchestra in Canada, and oboe instructor at DePaul University. In this interview, Klein talks about his start in music, his teaching, and the combination of solo and orchestral performing in his career. He describes his brand of “musical activism” and his mindset while playing. He offers ideas for developing technique and shares his difficulties with focal dystonia. Klein offers advice on the use of air and vibrato and shares memorable experiences.


IDEA JOURNAL ◽  
2018 ◽  
Vol 12 (1) ◽  
pp. 60-71
Author(s):  
Simon Weir

Salvador Dali?’s surrealist process, which he named the paranoiac critical method, is a method of generating irrational knowledge through the associative mechanisms of delirious phenomena. Drawing together the story of Odysseus and the Sirens in Homer’s Odyssey and K. Michael Hay’s essay on the modernist dematerialisations of Mies van der Rohe’s Seagram Building (1958) in New York, the paranoiac critical method is employed in an exegesis of Buckminster Fuller’s giant geodesic domes as a continuation of the transformative power of Odysseus’s legendary journey of interiorisation.


Author(s):  
Michele Fiala

Nancy Ambrose King is professor of oboe at the University of Michigan and first-prize winner of the Third New York International Competition for Solo Oboists, held in 1995. In this chapter, King discusses the relationship between teaching and performing. She also shares her ideas on reeds, learning new repertoire, and winning jobs. She relates her inspirations and memorable experiences.


Author(s):  
Mike Cronin

The first recorded international sporting fixture was a cricket match between the United States and Canada in New York in 1844. ‘International’ shows that once sporting organizations, the media, and even politicians began to realize the value of international competition it spread quickly from sport to sport. Groups of national federations came together to form international federations that governed their particular sport, and arranged and sanctioned international competitions. Such organizations included the International Rugby Board (founded 1886), International Olympic Committee (1894), and Fédération Internationale de Football Association (1904). The history of the IOC, the Olympic Games, and their political and financial aspects are described, including the boycotts of the 1970s and 1980s.


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