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of unbounded posslbility.'? The low economic value of
these purpose-built structures and comptexes at city
edges made them ideal sites for low-risk experimenta-
tion within their [arge volumes. Upon their surfaces, and
through additions, the architects or artists worked with
the existing structure as a large-scale objecttrouv6.
This term describes an artist incorporating a'found'ob-
ject with cultura[[y-specific meaning into a new context
wherein lts meaning is transformed by the perception
of the artist's work of art. Marcel Duchamp's Fountoin
(1917) - the display of a urinaI as art - is the iconic ex-
ample, though the descriptive term object trouvd came
into use in 1937. Artists'f ind'bui[dings designed for
manufacturing, science, engineering, offices, and hous-
ing in districts that have been ectipsed by new devetop-
ments fulfi[ting retated needs. Upon securing access
- throu gh cooperative and/or govern mentatly-financed
means, through direct arrangement with the owner, or, in
unfortunate cases, itlegatty - artist occupants respond
to the megalithic form with three overarching purposes:
(1 ) to shetter themsetves a nd their art- making; (2) to
create at an unprecedented sca[e in terms of 'numer-
ousness'or sheer size; and (3) to atter our understanding
of the buitding's signif ication as a shelter. Devetopers
and owners often encourage and facititate artist oc-
cupancy and alteration of vacant industrial buitdings
and complexes, as their creative cutture has been shown
to precipitate district regeneration in cities around the
world, inctuding New York, Boston, San Francisco, Baset,
and Copenhagen.
We look here at two spatial expressions of adaptive
reuse within the object trouv6 typotogy - the complex
os topogrophicol ortwork and the buiLding os hybrid fig-
ure - to describe those qualities that make them 'art.'
lllustrating the complex os topogrophicol ortwork are
two projects that create a morphoLogicaI ptay between
the existing comptex and the new forms or surface
treatments: Richard Meier's Westbeth Arts Iive-work
housing in New York City and the informatly-devetoped
arts complex 50 Moganshan Road (lt/50) in Shanghai.
Describing the building os hybrid figure are two projects
separated by over nearly fifty years in time: a pair of
Paris townhouses in Les Ha[[es altered by artist Gordon
Matta-Clark for the 'l 975 Biennale (now demolished)
and Herzog & de Meuron's ElbphiIharmonie in Ham-
burg. These are discreet singu[ar structures changed
by a significant addition or subtraction of form. Derelict
or otherwise underutilized buitdings have long been
locations of expansive creativity for artists - and in
fact, the four examples given are programs for artists
and the arts.
Art's Critique of Architecture and the Built Environ-
ment
ln the 1 970s, art reacted to architecture, and the ensu-
ing experiments in turn influenced architects. ScuIptors
Donatd Judd, Robert Smithson, Richard Long, Gordon
Matta-Clark, and others carried art practice into the
bullt environment. Robert Rauschenberg criticized the
archetypaIsterile white gattery by breaking the edge of
the frame in mixed media collages he calted 'combines.'
Smithson created SpirolJetty, a [arge rock formation
in the [andscape; Richard Long documented [ong Iines
walked across desert territory and allowed on[y record-
ings of the ephemeral actions to be curated; and Donatd
Judd made geometric verticaI and horizontatforms with
deep voids breaking masses. The architecture wortd al
most claims Judd - and he confirmed the presumed af-
flnity with his purchase of a former army base in Marfa,
Texas as objecttrouv6.fhese experiments, briefly men-
tioned here, have detailed histories beyond the scope of
this analysis and impacted art in additionalways.
As Smithson and Long drew the art world's atten-
tion to the environment, historians JB Jackson and
Do[ores Hayden contemporaneously penned critiques of
the new look of the American [andscape:the sprawting
cities, redevetoped downtowns, proliferating h ighway
interchanges, and increasingty abandoned factories.
Landscape photographers Robert Adams and Lewis
Baltz - members of a group of large-format photogra-
phers referred to as A/ew Topogrophics - photographed
the dystopia of residentiaI and industrial sprawt. In their
images, cIusters of dweltings read as topographicaI
aberrations on scraped sites.
Co m plex os To pogra ph ico I Artwork
This'topographlc'trend in art surety inf [uenced archi-
tects such as Richard Meier, atso based in NewYork
City, a major center of the 'l 970s art world. Today, we
know Meier as an architect of major commercial works
of new construction - luxury apartment buitdings,
academic centers, and government offices with clean
lines and botd white humanistical[y-scated facades. But
Meier's first large commission, compteted in I970s, was
a renovation projectfortheJ.D. Kaplan Fund and the
NationaI CounciIon the Arts:Westbeth Arts. This 384-
unit complex in New York City's Greenwich Village was
the first pubIicly-funded Iive-work housing project in
the United States.The existing buitdings, BellTelephone
Laboratories' late nineteenth and early twentieth-centu-
ry office and research and development complex, were
an agglomeration of robust brick structures assembled
to utilitarian ends.The multipte structures on the [arge
btock had diverse footprints and heights, though severaI
strong rectilinear axes brought drama and coherence to
the assemblage.
Su btracti ng two existi ng timber-framed structu res,
selectively painting facades, and adding geometric ele-
ments Iike fire escapes, concrete park benches, and a
fountain, Meier developed a new language of form to be
read at an urban sca[e simultaneously with the existing
historlc vo[umes.The resulting Escher-esque composi-
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tions Meier's alteration work but attributes Westbeth's
contemporary significance primarily to the building's
socia[ history as a community of significant artists.s As
early work by Meier and other members of the New York
Five - an avant-garde group of architects featured in a
1969 exposition at the Museum of Modern Art - increas-
i n gly req u i res su bstantiaI renovation, preservation tides
wil[ surely shift. Docomomo, the internationaI pres-
ervation organization for modern movement heritage,
and Metropolis Mogozine6 are at the head of this trend,
buitdingthe case forthe significance of noteworthy
works of architecture bui[t since '] 970.
As at Westbeth, exterior paint is the primary element
of change i n the adaptive reuse of 50 Moganshan Road
(M50), a studio, dwelling, and gatlery comptex devetoped
in the late 1990s in a mutti-structure 1930s-era former
texti[e miI complex owned by Shangtex, the state textite
company, in the Putuo District of Shanghai, China.Over
100 artists'studios are located here and merge with the
adjacent residentia[ and industriaI neighborhoods.The
underutiLized factory buildings in this area are quickly
being converted to residential, office, and artist studios
such as the nearby Creek Art Center. Located near the
downtown of theJing'an District, the area is a part of
Shanghai's Suzhou Creek RenewaI District and has been
improved through pubtic park amenities and infrastruc-
ture replacement over the last decade.
The M50 buitdings are an assortment of tite-roofed
one to four-story concrete, brick, and stucco structures
with dark gray, white, and red brick weathered exte-
riors, alternately advancing and receding at irregu[ar
i nterva[s. The varied topography of fagades and roofs
is connected on the ground plane by broken asphalt
access drives from which furniture-scate water, sewage,
and fire protection piping access points protrude and
cluster, and [arge pipes occasiona[[y pass overhead from
buitding to buitding, making informaI thresholds.
Within this discordant setting - reminiscent of the
dystopic 1 979 Russian fitm Stolker by Andrei Tarkovsky
that initiated the'[andscape urbanism'trend, in which
abandoned industria[ [andscapes are rectaimed as
parks - the artists have built empathy with their sur-
roundings by f raming doorways, installing studio signs,
and graphicatty attering entire sections of the exterior as
informaI site-specific artworks. One of these works, in
red, white, and iridescent blue paint, co[onizes a metal
stairwe[, a grouping of human-scate pipes, and the
adjoining two buitding exterior walls.
Art enacted on the existing structures is an em-
pathy-generating design mode, setting in play a new
formal way of looking at the buitding forms and the
experience of the space within. White the episodic a[-
terations of M50's exteriors are smaL[-scate topographic
interventions, the interiors are claimed and altered in
their entirety by the artists whose gear, workbenches,
and framed works occupy the lower third to haLf of the
fifteen to th i rty-foot h igh spaces. The u pper two-thi rds
of the waIts, the figuraIty-expressive rectangular co[-
umns with four-sided trapezoid-faced capitals, and the
ftat and saw-tooth ceilings are a topographic artwork of
whitewashed planes. Within one of these radiant white
vo[umes stands a twenty-foot high plaster figure of
MaoTse-tung with scutptures of children prostrate at
his feet. As at Westbeth, the complex os topogrophicol
ortwork is created through the amplif ication of Latent
spatiaI geometries.
Building os Hybrid Figure
In the 1 970s, art reacted to architecture not only at the
scale of the complex, but also in disputingthe cultur-
atly prescribed meanings of individual structures. Artist
Gordon Matta-Ctark is arguably the initiator of the
buildingos hybrid figure mode of adaptive re-use within
the object trouv6 typology - in which existing buildings
are dramatically transformed through the addition or
subtraction of [arge-sca[e elements with distinct figural
identities.
SpLitting(1914) and Conicol lntersect (1975), two of
Gordon Matta-Clark's works of 'anarch itectu re,' exem pti -
fy the alteration of a'found'building whose signification
as a sheltering structure is dramatica[[y ruptured by a
counter-posing figural gestu re. Bruce Jenki ns, biogra-
pher of Matta-C[ark, chronicles the emotional impact of
Matta-Clark's first buitding-scale works. He describes
the New Jersey tract house that Matta-C[ark split by
making two verticaLcuts one inch apart with power
hand tools and by chiseling the foundation to cause its
settlement to one side of the house. Matta-Clark had
invited a group of friends to come see the work, but
even right before the intended exhibit, Matta-Clark to[d
interviewer Liza Bear, "there was a terrific suspense,
not reatly knowing what woutd hold or shift." ln the end,
the cut buitding's two halves settled outwardty, creat-
ing a wedge of [ight that destabilized the soLidity of the
structure and carried the socia[ commentary of that
ru ptu re with it.7
The geometric play of Splittlng re[ies partLy on an
equivalency between the rectangular proportions of the
origina[ house and that of the two halves, which are pro-
portionalty identicaLto the house. Conicol /ntersect is a
temporary work that Matta-Clark constructed in two Les
HalLes townhouses on the edge of the Pompidou Center
construction site during the 1974 Paris Biennale. Matta-
Clark's geometric dialogue with the existing structures
similarly destabitizes their origina[ meaning, in this case
through the cutting away of a telescope-shaped form
on the third, fourth, and fifth floors ofthe structure, its
roughLy 10-'1 S-foot diameter opening, and several ad-
ditional circu[ar cuts beyond visibte to passers-by below.
The drama of Conicol Section is clear in Marc Petitjean's
photographs taken inside the structure during the con-
struction of the artwork, in which the brick, tlmber, and
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