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  1. ArchDaily
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  3. Tel Aviv Museum Of Art Examines The International Circulation Of Prefab Concrete Panels

Tel Aviv Museum Of Art Examines The International Circulation Of Prefab Concrete Panels

Tel Aviv Museum Of Art Examines The International Circulation Of Prefab Concrete Panels
Tel Aviv Museum Of Art Examines The International Circulation Of Prefab Concrete Panels, © Elad Sarig
© Elad Sarig

Between 1945 and 1981 around 170 million prefabricated (prefab) residential units were constructed worldwide. Now, as part of a study undertaken by Pedro Alonso and Hugo Palmarola of the Pontificia Universidad Católica de Chile between 2012 and 2014, an exhibition at the Tel Aviv Museum of Art features 28 large concrete panel systems from between 1931 and 1981. In so doing, it explores a transnational circulation of these objects of construction, "weaving them into a historical collage of ambitions and short-lived enthusiasm for utopian dreams."

This show, curated by Meira Yagid-Haimovici, is an attempt to reveal "how architecture and urbanism was charged with historical, social, and political narratives, and how the modernist vision promoted the fusion of aesthetics and politics." The models, which are being exhibited as part of the Production Routes exhibition, seek to highlight the richness embodied in 'generic' architecture through the lens of prefab construction methods.

© Elad Sarig
© Elad Sarig

According to ,"the peregrinations of these concrete panels serve as a litmus test indicative of how ideologies and mechanisms of power reached across continents and oceans." During the 1980s, as dominant ideologies and political blocks began losing their power, their global impact was replaced by that of market powers and international corporations operating in accordance with financial models. Private real-estate entrepreneurs backed by investment banks came to promote large-scale projects centred on the development of generic housing, generic offices, and generic cities, resulting in an accelerated process of global homogenisation. As a result, contemporary architecture appears more uniform than during the Modernist age. This exhibition asks whether or not there is "an optimistic perspective from which one can examine these generic developments? Is there a chance for oppositional forces working against hegemonic powers?"

© Elad Sarig
© Elad Sarig

This historical “scaffolding” is represented in the exhibition by the typological study which expands the limits of the term “prefabricated building” and exemplifies its particularity by means of models produced using 3D printers. This study is juxtaposed with three additional perspectives: the artist Amie Siegel’s seemingly disinterested gaze, which presents a sampling of the generic New York architecture firms in which today’s global, generic architecture is produced. In this film, the sites where means of production and export are used to preserve hierarchies that shape the use of resources and the operation of markets and political regimes are revealed to reflect the structure of a factory or industrial assembly line. Stephan Trüby presents an interview with Friedrich Mielke, who developed the esoteric field of scalalogy, or the “science of stairs.” This rare historical document explores the social history of stairs and the relations between people and stairs. Teri Wehn Damisch and Jean-Louis Cohen present a fascinating, dialectic archival document about the hopes tied to architectural modernism in France, the illusions to which it gave rise, and their subsequent rupturing.

This exhibition does not aim to illuminate the past from the viewpoint of the present or vice versa. Rather, it constitutes a modest attempt to draw closer together seemingly distant phenomena, so that we may attend to their shared resonances. 

Amie Siegel, The Architects, 2014. Image courtesy the artist and Simon Preston Gallery, New York. Image © Storefront for Art and Architecture
Amie Siegel, The Architects, 2014. Image courtesy the artist and Simon Preston Gallery, New York. Image © Storefront for Art and Architecture
Still from film Friedrich Mielke: Discipline and Passion, the Science of Stairs, 2014, by Stephan Trüby. Image Courtesy of Tel Aviv Museum of Art
Still from film Friedrich Mielke: Discipline and Passion, the Science of Stairs, 2014, by Stephan Trüby. Image Courtesy of Tel Aviv Museum of Art
Still from film Mon Oncle, 1958, director Jacques Tati. © Les Films de Mon oncle – Specta Films CEPEC in Modernity, Promise or Menace?, 2014. A film by Teri Wehn Damisch and Jean-Louis Cohen. Image Courtesy of Tel Aviv Museum of Art
Still from film Mon Oncle, 1958, director Jacques Tati. © Les Films de Mon oncle – Specta Films CEPEC in Modernity, Promise or Menace?, 2014. A film by Teri Wehn Damisch and Jean-Louis Cohen. Image Courtesy of Tel Aviv Museum of Art

Production Routes at the Tel Aviv Museum of Art is on display until the 2nd May 2015.

About this author
James Taylor-Foster
Author
Cite: James Taylor-Foster. "Tel Aviv Museum Of Art Examines The International Circulation Of Prefab Concrete Panels" 23 Feb 2015. ArchDaily. Accessed . <https://www.archdaily.com/601358/re-reading-modernism-through-the-lens-of-prefabrication/> ISSN 0719-8884