Mark Wigley

"Architecture never derived its force from stability of culture, but rather from the expression of those moments when that sense of stability slipped." - Mark Wigley

Mark Wigley | Architectural Theory: The Future of Cities

Mark Wigley, an Architectural Theorist, Scholar and Author, and Dean of Columbia University Graduate School of Architecture, Planning & Preservation (GSAPP), has stated that "Architecture is a set of endlessly absorbing questions for our society rather than a set of clearly defined objects with particular effects. Architects are public intellectuals, crafting forms that allow others to see the world differently and perhaps to live differently." Mark discusses his concepts, views and vision for architectural education and thought with Stuart Mason Dambrot on Critical Thought | TV.

Mark Wigley | Architectural Theory: Evolution in Architectural Intelligence

Mark Wigly - Pipeless Dreams: Buckminster Fuller and the Architecture of Radio

This lecture will explore architecture’s nervous encounter with liquids. Our buildings, like ourselves, are filled with pipes. Water, gas, electricity, and information flow inside walls, floor and ceilings, crisscrossing basements and running across rooftops. Yet these tubes are rarely allowed to enter the space. No evidence of flow is allowed. But the ever expanding repressed world of pipes always has its leaks, blockages and occasional overflows. The building and the discipline occasionally get covered in what was meant to be excluded. There is an astonishing architecture of pipes, a radical liquid architecture.

Mark Wigley: Anarchitecture 101.5--Cutting Matta-Clark

Mark Wigley begins by raising doubts about things that are treated as facts in discussions of the work of Gordon Matta-Clark, beginning with the word “anarchitecture” itself. Wigley argues that Matta-Clark might have let a discussion group about anarchitecture in the early 1970s (including Laurie Anderson, Tina Girouard, Susie Harris, Jene Highstein, Bernard Kirschenbaum, Alan Saret, Ree Morton, Richard Landry, Richard Nonas). But for a group exhibit titled “Anarchi-tecture” at the Greene Street artist-run space, the evidence is fragmentary and contradictory.
Wigley maintains that Matta-Clark’s work has been misunderstood, and his real accomplishment obscured. He takes for example “Splitting” (1974), and describes the first photographs of the project, and the different ways it was represented in different magazines. Wigley surveys Matta-Clark’s subsequent work, pointing out Matta-Clark’s highly contrived photo-collages, installations and publications. Wigley points out the different versions of similar images (black and white prints from color negatives, different croppings) further complicate the boundary between document and art work. Wigley suggests that Matta-Clark’s words should be taken not as explanations of the artwork, but the work itself. He concludes affirming the coherence and deliberateness of Matta-Clark’s work from beginning to the end of his career.
Wigley responds to comments from the audience on surrealism, collaboration, and refutes the idea of his death as tragic.