In 2015 she edited with Jorge Otero-Pailos the issue ‘Preservation and Copyright’ for the journal Future Anterior (University of Minnesota Press). The book Before and After: Documenting the Architecture of Disaster, written together with Eyal Weizman was published in the same year by Strelka Press. In 2014, her edited book Architecture and the Paradox of Dissidence, was published by Routledge. She trained as an architect at the Bauhaus-Universität Weimar and the Ècole d’Architecture de Belleville in Paris, the Sorbonne, the University of Cambridge, and the Architectural Association, where she completed her PhD thesis in History and Theory. Ines Weizman is professor of architecture theory, director of the Bauhaus-Institute of History and Theory of Architecture and Planning and director of the Centre for Documentary Architecture at the Bauhaus-Universität Weimar.
#ADOLF LOOS PROJECTS SERIES#
This research does not only add to an already well-established scholarship about Adolf Loos, but tries to make a series of methodological and theoretical points about threads and traces that pose the most potent questions for the architectural historian as she traces the complex experience of modernity through exile. In a series of archival close-ups it will present research on collaborators of Adolf Loos, who had worked and studied with him in Vienna and Prague, and who in the 1930s, brought his design principles to Palestine. This talk looks at the migration of ideas through different means and media: writings, architectural drawings, photographs, films, artifacts, building materials and buildings themselves, but also their protagonists – authors, owners and inhabitants. Consequently, historians of modernism are challenged to narrate and follow the trajectories of migration, trying to piece together routes as artefacts keep on popping up in unexpected places. The experience of exile, dislocation, or disarticulation is deeply inscribed in the aesthetic structure of modernism, challenging the site, appearance and meaning of the architectural object.
A protagonist ‘on the move’, a homeless modernist perhaps, challenges the very essence of place-bound nationalist politics. They were to exist in a universal space where site specificity was no longer a value and authorship no longer central. Modern architecture, with the émigré architect as its messenger, sought to create a world in which buildings performed an act of global dissemination.