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Critical Response to Anthony Vidler's article - Assignment Example

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The 19th century ushered in an era of great interest in spatial thought and the uncertainties and anxieties faced in spatial modernism.However,the strong nostalgia felt for space both in theory and practice has never failed to fascinate us even in these contemporary times when technology has become so advanced…
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Critical Response to Anthony Vidlers article
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"Critical Response to Anthony Vidler's article"

The 19th century ushered in an era of great interest in spatial thought and the uncertainties and anxieties faced in spatial modernism. However, the strong nostalgia felt for space both in theory and practice has never failed to fascinate us even in these contemporary times when technology has become so advanced. Considering all the advancement made, yet humans seemed to be much less in demand. The spatial supremacy of the past is reflected as a condition of “no space” in these modern times because neither time nor space has been given its rightful position. In this essay we would be examining the concepts of space and void in close association with the work of Daniel Libeskind. Author Anthony Vidler sheds light on Daniel Libeskind’s Post-spatial void in his article titled “Building in Empty Spaces.” Examining the spaceless world the author tells us that modern conventions have forced us to comprehend the concept of spacelessness in spatial terms. Hence, terms such as ‘cyberspace’ and ‘cyber world’ help us to understand the concept of spacelessness. In this context, Libeskind in his project enumerates his thoughts and ideas through his Victoria and Albert Museums ‘Broiler-house’. This ancient machine age structure is replaced with another machine – age structure which is avant garde in guise as well as in form and is one among the endless line of counter-spatial projects. Vidler cites the 1996 Rosalind Kraus and Yve- Alain exhibition held at the Centre Pompidou as one that informs the Victoria and Albert design....
Firstly, that it was impossible to understand Berlin’s history without understanding the immense cultural, intellectual and economic contribution of the Jewish citizens of Berlin. Secondly, Libeskind found it imperative to integrate the meaning of the Holocaust into the minds and hearts of the people both physically and spiritually and thirdly he felt it necessary to incorporate the erasure and void of the Jewish life in the city of Berlin. Hence, this museum has great historical significance by being a link between the past and present of Germany. Vidler sheds light on the use of space and void in Libeskind’s museum and we see the same reflected in the structure of the museum building. The Baroque Kollegienhaus marks the entrance leading to a dramatic entry void by a stairway and progresses beneath the existing building foundation, crisscrossing underground and materializing outside as an independent building. On the surface, the old and new building appears autonomous but the contradicting fact is that both the buildings are bound together in the depth of space and time. Vidler refers to the Vienna Holocaust Memorial and Richard Rogers South Bank project as reflecting similar schemes as in Libeskind’s museum and explains that the modernist nostalgia of space in its positive or negative form, projects itself as ‘all –consuming artifacts.’ (Vidler, Warped) Vidler explains that many theorists of modernism hold the notion that time and space are destructive of the object. In examining Libeskind’s building structure, Vidler explains how the new Jewish museum in Berlin is instructive and offers a different kind of “exhausted” space. (Vidler, Warped) It was a conscious effort on the part of Libeskind as he reinterpreted the premise of “space Read More
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