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op

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Ill

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111

_-_J

i

i

Pro

ject

, 20

00

3 pa

rts

: lo

bby,

boo

ksho

p, g

alle

ry

over

all d

imen

sion

s: 1

08 x

108

fee

t

Com

mis

sion

ed

by D

ia C

ente

r fo

r th

e A

rts,

199

8

a.

Alv

a, A

alto

, W

ardr

obe,

Pat

ient

's R

oom

,

i

Pai

mio

Tub

ercu

losi

s S

anat

oriu

m,

Pai

mio

, F

inla

nd,

1929

-193

3

woo

d an

d pl

ywoo

d, i

ron

801/•

x 3

2 x

12 i

nche

s

Col

lect

ion

of G

alle

ry G

illes

Pey

roul

et,

Par

is

b.

Vol

ksw

agen

AG

Des

ign

Cen

ter,

Vol

ksw

agen

New

Bee

tle

Ful

l-Sca

le M

odel

, 19

95

stee

l, w

ood,

har

dfoa

m, c

lay

591/

2 x 6

8 x

161

inch

es

Col

lect

ion

: Vol

ksw

agen

Des

ign,

Sim

i Val

ley,

Cal

iforn

ia a

nd

Wol

fsbu

rg,

Ger

man

y

! u >­

.c <ii

u .8

0 .c

0.

-)

(;

{ )

\c

I (t~

:s}

I , ;v

era1

\ar

V'

Jorg

e P

ard

o

Pro

ject

S

epte

mb

er 1

3, 2

000-

Jun

e 17

, 200

1

Dia

cen

ter

for

the

arts

54

8 w

est

22n

d s

tree

t n

ew y

ork

Jorg

e P

ard

o,

Pro

ject

(20

00)

'I am

mor

e in

tere

sted

in

insc

ribin

g re

flexi

vene

ss .

.. by

poi

ntin

g to

exp

lana

tiona

l

limits

tha

n in

mak

ing

Clif

f N

otes

for

an

exhi

bitio

n,"

Jorg

e P

ardo

sta

ted

in a

rece

nt i

nter

view

acc

ompa

nyin

g th

e fir

st e

xten

sive

pub

licat

ion

devo

ted

to h

is

art.

' In

an

atte

mpt

to

resp

ect

his

posi

tion,

thi

s te

xt e

ngag

es i

n a

reci

proc

al

vent

riloq

uism

.

dis

pla

y

Exh

ibiti

ons

of a

rchi

tect

ure-

as-b

uilt-

stru

ctur

e,

as w

ell

as o

f do

mes

tic a

nd i

ndus

tria

l de

sign

,

wer

e on

ce a

sig

nific

ant

feat

ure

of t

he m

oder

n m

useu

m p

rogr

am.

Gen

erat

ed b

y th

e

Mus

eum

of

Mod

ern

Art

in

New

Yor

k an

d si

mila

r in

stitu

tions

fro

m t

he 1

930s

thr

ough

the

early

195

0s,

such

sho

ws

freq

uent

ly t

oure

d to

com

mer

cial

site

s, s

uch

as d

epar

tmen

t

stor

es,

in a

dditi

on t

o pu

blic

loc

atio

ns.

Con

vers

ely,

mod

erni

st a

rchi

tect

ure

at t

imes

len

t its

elf

as a

sta

ge f

or a

dver

tisem

ents

and

pro

duct

dis

play

-as

whe

n a

1936

O

ldsm

obile

adv

ertis

e­

men

t us

ed a

s a

back

grou

nd R

icha

rd N

eutr

a's

1932

VO

L R

esea

rch

Hou

se i

n Lo

s A

ngel

es.

Mor

e ge

neric

ally

, th

e co

nspi

cuou

s pl

acem

ent

of t

he c

ar i

n Le

Cor

busi

er's

pho

togr

aphs

of

his

hous

es p

rovi

ded

the

cont

ext

for

an "

adve

rtis

emen

t' of

the

con

tem

pora

ry g

ood

life

he

wan

ted

asso

ciat

ed w

ith h

is a

rchi

tect

ure.

The

mod

erni

st h

ouse

was

, ho

wev

er, c

onne

cted

to f

ilm a

nd p

hoto

grap

hy i

n ot

her

mor

e cr

ucia

l w

ays.

Not

onl

y pr

omot

ed b

y de

nize

ns o

f

the

film

wor

ld t

hrou

gh s

uch

indi

vidu

al c

omm

issi

ons

as N

eutr

a's

resi

denc

e fo

r E

rich

von

Ste

rnbe

rg,

it fr

eque

ntly

ser

ved

as a

sta

ge f

or f

ilm,

nota

bly

in J

ean-

Luc

God

ard'

s ha

untin

g

use

of t

he V

illa

Mal

apar

te i

n C

onte

mpt

in

1963

. A

rgua

bly,

it

has

been

inf

luen

ced,

sha

ped,

and

dete

rmin

ed

as m

uch

by th

e ca

mer

a as

by

the

car

due,

not

lea

st, t

o th

e fa

ct t

hat

phot

ogra

phy

and

incr

easi

ngly

film

and

vid

eo,

have

pro

vide

d th

e pr

inci

pal

vehi

cles

for

the

diss

emin

atio

n of

inf

orm

atio

n ab

out

mod

erni

st a

rchi

tect

ure

in s

peci

aliz

ed t

rade

pub

licat

ions

as w

ell a

s th

e m

ass

med

ia I

n tu

rn, a

rchi

tect

ural

exp

erie

nce

cam

e to

be

deem

ed fu

ndam

enta

lly

cine

mat

ogra

phic

in

cha

ract

er.

Thu

s, fo

r ex

ampl

e, th

e pr

omen

ade

arch

itect

ural

e th

at L

e

Cor

busi

er c

hore

ogra

phed

thr

ough

eac

h of

his

hou

ses

via

a su

cces

sion

of

ram

ps a

nd

inte

rcon

nect

ed

spac

es i

s qu

inte

ssen

tially

film

ic,

as is

his

pro

cliv

ity f

or s

uch

feat

ures

as

emph

atic

ally

hor

izon

tal

fene

stra

tion.

In

addi

tion,

cer

tain

pro

ject

s, s

uch

as t

he B

este

gui

Apa

rtm

ent

wer

e or

gani

zed

in to

to a

roun

d a

peris

cope

cam

era

obsc

ura

and

cine

ma

proj

ectio

n?

inst

alla

tio

n

Don

ald

Judd

hou

sed

his

colle

ctio

n of

mod

erni

st f

urni

ture

, in

clud

ing

key

piec

es b

y A

lvar

Aal

to a

s w

ell

as G

errit

Rie

tvel

d an

d Le

Cor

busi

er,

inte

rspe

rsed

with

fur

nitu

re t

hat

he h

im­

self

desi

gned

and

use

d (t

able

s, c

hairs

, de

sks)

, in

the

form

er r

esid

entia

l qu

arte

rs o

f a

bank

,

erec

ted

at t

he t

urn

of t

he t

wen

tieth

ce

ntur

y, in

the

smal

l an

d re

mot

e w

est

Tex

as to

wn

of

Mar

fa, w

here

he

settl

ed i

n th

e la

te s

even

ties.

Dow

nsta

irs,

on t

he m

ain

floor

of

the

build

ing

and

adja

cent

to

a sm

all

stud

io,

he d

ispl

ayed

gro

ups

of a

rtifa

cts

both

ind

igen

ous

and

vern

ac­

ular

from

the

Am

eric

an W

est

and

Sou

thw

est,

mos

tly p

otte

ry a

nd o

ther

dom

estic

ite

ms.

SIP;

'

Y S

t 1

,_

·,

Judd

's f

irst

mat

ure

art

obje

cts

date

fro

m t

he e

arly

six

ties;

his

int

eres

t in

arc

hite

ctur

e flo

ur­

ishe

d la

ter

in li

fe. T

he d

iver

se a

rray

of

build

ings

, w

hich

the

art

ist

conv

erte

d fo

r a

varie

ty

of u

sage

s, in

clud

es i

ndus

tria

l, co

mm

erci

al,

and

dom

estic

str

uctu

res

as w

ell

as m

ilita

ry

barr

acks

. P

ragm

atic

, fin

ely

prop

ortio

ned

reno

vatio

ns o

f tw

o ar

tille

ry s

heds

dis

play

a

mon

umen

tal

wor

k co

mpr

ised

of

one

hund

red

mill

-alu

min

um b

oxes

. The

se s

ensu

al y

et

aust

ere

spac

es h

ave

prov

en h

ighl

y in

fluen

tial

conc

eptu

ally

as

wel

l as

sty

listic

ally

in

subs

e­

quen

t re

surr

ectio

ns o

f in

dust

rial

build

ings

for

reu

se a

s co

ntem

pora

ry a

rt v

enue

s. D

ia's

ow

n

faci

lity

in C

hels

ea a

ttest

s to

the

str

engt

h of

thi

s le

gacy

. In

addi

tion,

Jud

d lim

ned

seve

ral

desi

gns

for

mus

eum

s an

d re

late

d co

mm

issi

ons

in th

e ea

rly 1

990s

, and

a c

olle

ctio

n of

his

writ

ings

on

this

sub

ject

was

pub

lishe

d in

198

9.3

Whi

le h

is e

ngag

emen

t in

itial

ly s

tem

med

from

a n

eed

to d

esig

n ap

prop

riate

spa

ces

to p

rese

nt h

is o

wn

wor

k an

d th

at o

f ce

rtai

n

cont

empo

rarie

s, J

udd'

s in

tere

st i

n co

llect

ing,

cur

atin

g, a

nd d

esig

n de

velo

ped

into

an

enco

mpa

ssin

g pr

actic

e th

at i

ncre

asin

gly

test

ed c

onve

ntio

nal

boun

darie

s be

twee

n ar

t

form

s as

it

form

ulat

ed

larg

er t

heor

etic

al

as w

ell

as m

ore

prag

mat

ic t

enet

s co

ncer

ning

art

,

arch

itect

ure,

and

ins

talla

tion.

the

war

dro

be

In th

e P

aim

io T

uber

culo

sis

San

ator

ium

( 1

929-

32)

Alv

ar A

alto

, th

en b

arel

y th

irty

year

s ol

d,

took

the

rad

ical

ste

p of

see

king

an

arch

itect

ural

des

ign

base

d on

"a

trul

y us

able

crit

eria

for

peop

le's

wel

l-bei

ng

in th

eir

ever

yday

live

s.' I

n ad

ditio

n to

the

wel

l-kno

wn

plyw

ood

chai

rs

desi

gned

for

thi

s ho

spita

l, w

hich

are

stil

l in

pro

duct

ion

som

e se

vent

y ye

ars

late

r, A

alto

crea

ted

cust

omiz

ed f

urni

ture

fo

r th

e pa

tient

s' r

oom

s. I

nclu

ding

was

hbas

ins,

hos

pita

l be

ds,

war

drob

es,

and

lam

ps, t

hese

ite

ms

wer

e ba

sed

on c

aref

ul o

bser

vatio

n of

fun

ctio

nal,

psyc

holo

gica

l, an

d ph

ysio

logi

cal

requ

irem

ents

. T

ypic

al o

f hi

s ap

proa

ch w

as t

he c

hoic

e of

a

cana

ry y

ello

w f

loor

in

the

hallw

ay a

nd m

ain

stai

rcas

e, e

voki

ng t

he e

xper

ienc

e of

sun

shin

e

and

war

mth

eve

n du

ring

dark

win

ter

mon

ths.

In

this

sem

inal

rev

isio

n of

the

rei

gnin

g

univ

ersa

list,

abst

ract

-mod

erni

st

plat

form

, th

is y

oung

Fin

nish

arc

hite

ct b

egan

to

deve

lop

a

mul

tilay

ered

aes

thet

ic t

hat

resp

onde

d to

spe

cific

s of

cul

tura

l an

d ge

ogra

phic

al

loca

lity,

that

soug

ht a

fusi

on o

f tr

aditi

on a

nd r

adic

ality

, and

tha

t st

rate

gize

d de

sign

bas

ed in

atm

osph

eric

cohe

sion

in

plac

e of

an

over

ridin

g co

ncep

tual

fra

mew

ork.

Not

able

in

the

proj

ect's

fin

ishe

d

stru

ctur

e w

as t

he r

hyth

mic

spa

tial

flow

bet

wee

n ar

eas,

def

ined

by

perm

eabl

e bo

rder

s,

area

s w

hose

spa

ces

colla

ged

mat

eria

ls, d

etai

ls,

and

imag

es w

ithin

an

epis

odic

pai

nter

ly

stru

ctur

e. S

umm

ariz

ing

his

philo

soph

y so

me

year

s la

ter,

Aal

to d

iffer

entia

ted

his

appr

oach

from

tha

t as

soci

ated

with

mas

s pr

oduc

tion

by a

lludi

ng t

o a

need

for

par

ticul

arity

in

each

proj

ect

that

wou

ld b

e th

e re

sult

not

of s

ubje

ctiv

e ex

pres

sion

but

of

atte

ntiv

enes

s to

its

site

-spe

cific

ity,

in th

e br

oade

st s

ense

.

Whe

reas

the

cour

se o

f de

velo

pmen

t in r

elat

ion

to t

he a

utom

obile

is fo

r m

ore

and

mor

e ef

fort

to b

e m

ade

to c

once

ntra

te o

n ju

st a

few

type

s, th

e ta

sk o

f the

arc

hite

ctur

al

prod

uctio

n pr

oces

s is

exa

ctly

the

oppo

site

. By

all r

ight

feel

ing

and

com

mon

sens

e, it

sho

uld

not b

e ce

ntra

lized

stan

dard

izat

ion,

but s

hall

we

say

'dec

entr

al­

ized

' sta

ndar

diza

tion.

In a

rchi

tect

ure,

the

role

of

stan

dard

i-zat

ion i

s th

us n

ot to

aim

at a

type

but

, on

the

cont

rary

, to c

reat

e vi

able

var

iety

and

rich

ness

whi

ch in

an id

eal s

ituat

ion

is c

ompa

rabl

e to

nat

ure'

s in

finite

cap

acity

of

nuan

ce.'

the

car

Laun

ched

in

1994

at

the

Det

roit

Mot

or S

how

, Con

cept

1,

the

fore

runn

er

of t

he N

ew

Bee

tle,

was

ini

tially

aim

ed a

t a

nich

e A

mer

ican

mar

ket.

The

ext

raor

dina

ry e

nthu

sias

m

that

gre

eted

its

unv

eilin

g le

d, th

roug

h an

ext

ende

d de

sign

pro

cess

in

the

Wai

tsbu

rg

Vol

ksw

agen

Des

ign

Stu

dios

, to

the

car

's d

ebut

som

e fo

ur y

ears

lat

er o

n th

e m

ass

mar

ket.

A d

elib

erat

e re

inte

rpre

tatio

n of

the

leg

enda

ry B

eetle

-'The

Lo

ve B

ug,'

whi

ch

had

first

bee

n re

leas

ed i

n th

e U

nite

d S

tate

s so

me

fort

y ye

ars

befo

re,

in 1

955

(and

whi

ch c

ontin

ues

to b

e m

anuf

actu

red

for

a le

ss-r

egul

ated

Cen

tral

Am

eric

an c

lient

ele)

­

the

New

Bee

tle r

etai

ns i

n m

odifi

ed f

orm

cer

tain

of

its p

rede

cess

or's

key

fea

ture

s,

not

leas

t an

arc

-sha

ped

roof

who

se c

urve

slo

pes

dow

n to

war

ds t

he b

otto

m o

f th

e

rear

hoo

d, th

e ro

unde

d fr

ont

hood

, the

bul

ging

fen

ders

, an

d th

e sy

mm

etric

al l

ook.

Alth

ough

un

der

the

bonn

et t

echn

olog

ical

ly

muc

h re

fined

, no

t le

ast

beca

use

the

engi

ne i

s no

w l

ocat

ed i

n th

e fr

ont

of t

he v

ehic

le, t

his

late

st v

ersi

on w

as i

nitia

lly

conc

eive

d to

adh

ere

clos

ely

in f

orm

to

a pu

re g

eom

etry

of

circ

les

and

sphe

res

and,

whe

re i

t de

viat

ed,

stra

ight

lin

es.

Nei

ther

exa

ctly

ret

ro n

or a

ppro

pria

tion,

the

fin

al

desi

gn o

f th

is s

educ

tive

revi

sion

sub

tly t

empe

rs t

he p

urity

of

geom

etric

exa

ctitu

de

tow

ard

the

orga

nic,

and

aw

ay fr

om w

hat

is n

orm

ally

cod

ed a

s m

echa

nist

ic, r

atio

nalis

tic,

or s

tand

ardi

zed.

Sim

ple,

com

pact

qua

si-b

iom

orph

ic

form

s co

nnot

ing

intim

acy

and

a

rela

xed,

per

sona

lized

am

bien

ce a

re i

ts tr

adem

arks

. B

uilt

to s

cale

, the

cla

y pr

otot

ype

no lo

nger

ser

ves

a fu

nctio

nal

purp

ose

as t

he o

rigin

al s

ourc

e fo

r th

e m

old

in th

e de

sign

proc

ess:

a s

ingu

lar

talis

man

, its

rol

e ha

s m

orph

ed i

nto

that

of

embl

em o

r ic

on;

an

anom

alou

s m

odel

, it

poin

ts t

o th

e re

alm

of

the

hypo

thet

ical

, th

e co

ncep

tual

, th

e id

eal.

pro

ject

Jorg

e P

ardo

's c

ompl

ex s

chem

e fo

r D

ia s

tem

s fr

om a

trip

artit

e br

ief:

to r

edes

ign

the

mus

eum

lob

by; t

o cr

eate

a s

ubst

antia

l bo

oksh

op;

and

to p

ropo

se a

n ex

hibi

tion

for

the

first

-flo

or

galle

ry, a

cla

ssic

whi

te c

ube.

Fro

m th

e ou

tset

, th

ese

thre

e co

mpo

nent

s

wer

e co

nsid

ered

an

entit

y, a

n en

tity

who

se p

arts

con

tain

ed n

o hi

erar

chy.

In c

ontr

ast

to c

onve

ntio

nal

arch

itect

ural

pr

actic

e, P

ardo

did

not

con

cept

ualiz

e hi

s de

sign

as

an

exha

ustiv

ely

deta

iled

tota

lity,

tha

t w

ould

be

exec

uted

as

clos

ely

as p

ossi

ble

to p

lan.

Afte

r de

term

inin

g th

at a

sin

gle

key

feat

ure-

the

tiled

flo

or-w

ould

un

ify h

is c

once

ptio

n,

Par

do p

refe

rred

to

wor

k in

crem

enta

lly,

impr

ovis

ing

with

in a

n ag

reed

-upo

n fr

amew

ork

as t

he p

roje

ct p

rogr

esse

d. C

reat

ed f

rom

eig

ht d

iffer

ent

hues

in

four

diff

eren

t si

zes,

the

cera

mic

tile

s w

ere

laid

in

a pa

ttern

who

se s

eque

ntia

l ar

rang

emen

t is

fixe

d bu

t

choi

ce a

mon

g th

e co

lors

is

left

open

. A r

eson

ant

filte

r th

at a

bsor

bs v

isua

l acc

ents

from

acr

oss

the

spec

trum

, th

is c

olor

istic

web

per

mits

a p

oten

tially

dis

sona

nt p

anop

ly

of m

isce

llane

ous

book

jac

kets

, vi

sito

rs'

clot

hing

, fu

rnitu

re,

and

happ

enst

ance

eve

nts

to b

e ap

preh

ende

d as

an

inte

grat

ed e

nviro

nmen

t. G

iven

its

glo

ssy

refle

ctiv

e su

rfac

e

this

flo

or g

ener

ates

lig

ht,

esta

blis

hing

an

expa

nsiv

e, lu

min

ous

horiz

onta

l pl

ane

para

llel

to t

hat

prov

ided

by

the

regu

lar

grid

of

illum

inat

ed c

eilin

g fix

ture

s. V

ertic

al d

ivis

ions

are

trea

ted

eith

er a

s pe

rmea

ble,

as

in th

e gl

ass

wal

ls a

nd d

oors

sep

arat

ing

both

adja

cent

int

erio

r ar

eas

and

the

insi

de f

rom

the

out

side

, or

scr

eene

d w

ith o

ne o

r tw

o

wal

lpap

er m

ural

s. A

dec

orat

ive

patte

rn o

f ce

ram

ic t

iles

enca

ses

the

colu

mns

, obs

curin

g

awar

enes

s of

the

ir lo

ad-b

earin

g fe

atur

es a

nd v

isua

lly c

onne

ctin

g th

em w

ith s

imila

rly

tone

d an

d hu

ed h

and-

prin

ted

curt

ains

and

tw

o co

mpu

ter-

gene

rate

d in

k-je

t pa

intin

gs.

A c

lust

er o

f m

agen

ta l

ight

s fo

r th

e bo

oksh

op m

anag

er's

offi

ce t

empe

rs t

he i

mpe

ne­

trab

ility

of

that

zon

e, w

hile

the

bril

liant

hue

s of

the

uph

olst

ery,

whi

ch P

ardo

cho

se f

or

the

stor

e fu

rnitu

re,

anim

ate

the

read

ing

area

. R

angi

ng f

rom

ren

owne

d cl

assi

cs,

such

as M

arce

l B

reue

r's t

rio o

f si

de t

able

s, t

o ce

lebr

ated

rec

ent

desi

gns,

inc

ludi

ng t

he

scar

let

Jasp

er M

orris

on h

igh

stoo

l, th

is s

eatin

g is

dis

pers

ed i

nfor

mal

ly a

ccor

ding

to

visi

tors

' ne

eds.

By

cont

rast

, m

ost

of t

he p

erm

anen

t fe

atur

es,

nota

bly

the

sale

s de

sks

and

lock

ers,

wer

e cu

stom

ized

to

the

artis

t's d

esig

ns.

Esc

hew

ing

finite

edg

es,

eras

ing

bord

ers

both

lite

ral

and

met

apho

rical

, P

roje

ct p

robl

emat

izes

the

int

erfa

ce b

etw

een

art,

arch

itect

ure,

and

des

ign.

As

in c

erta

in o

f hi

s pr

evio

us w

orks

tha

t al

so i

nvol

ved

the

deve

lopm

ent

or r

enov

atio

n of

bui

lt st

ruct

ures

, P

ardo

doe

s no

t de

em h

is i

nter

vent

ion

at D

ia a

n ar

chite

ctur

al

one,

rec

ogni

zing

a b

asic

diff

eren

<;e

in v

isio

n-th

at

is, i

n vi

sual

trai

ning

and

pra

ctic

e-be

twee

n th

is d

isci

plin

e an

d th

e fin

e ar

ts.

Afte

r st

udyi

ng b

iolo

gy a

t th

e U

nive

rsity

of

Illin

ois

at C

hica

go,

then

pai

ntin

g at

Art

Cen

ter

in L

os A

ngel

es,

from

whi

ch h

e gr

adua

ted

in 1

988,

Par

do b

egan

mak

ing

his

first

art

obj

ects

whi

le s

uppo

rtin

g hi

mse

lf by

wor

king

in

the

sch

ool

libra

ry a

nd, l

ater

,

teac

hing

. H

is e

arlie

st w

orks

exp

lore

d sp

ace

thro

ugh

dive

rse

guis

es,

som

etim

es b

y

tran

slat

ing

a ph

otog

raph

ic

repr

esen

tatio

n of

an

ever

yday

art

ifact

int

o its

phy

sica

l

coun

terp

art

or, a

ltern

ativ

ely,

rec

ordi

ng a

ctua

l sp

aces

by

mea

ns o

f pi

nhol

e ca

mer

as

embe

dded

in

item

s of

fur

nitu

re t

hat

he h

ad e

ither

mad

e or

ada

pted

. R

esid

ent

now

for

seve

ral d

ecad

es i

n Lo

s A

ngel

es,

like

man

y of

his

pee

rs h

e is

wel

l ve

rsed

in

the

post

war

vis

ual

hist

orie

s of

thi

s ul

tra-

cont

empo

rary

ci

ty, i

n its

tre

asur

y of

res

iden

tial

arch

itect

ure

as w

ell

as i

ts v

aunt

ed d

esig

n an

d fil

mic

tra

ditio

ns.

L.C

.

no

tes

1.

Jorg

e P

ardo

, int

ervi

ew b

y B

arba

ra S

tein

er, i

n Jo

rge

Par

do, e

d. J

orn

Sch

afaf

f an

d B

arba

ra S

tein

er

(Ost

filde

rn-R

uii

Can

tz, 2

000)

, p.

9.

2.

For

a m

ore

deta

iled

disc

ussi

on,

see

Bea

triz

Col

omin

a, 'T

he E

xhib

ition

ist

Hou

se,'

in A

t th

e E

nd o

f th

e

Cen

tury

: One

Hun

dred

Yea

rs o

f A

rchi

tect

ure,

ed.

Rus

sell

Fer

guso

n ( L

os A

ngel

es:

The

Mus

eum

of

Con

tem

pora

ry A

rt,

1998

), p

p. 1

26-1

66.

3.

See

Don

ald

Judd

, A

rchi

tekt

ur (

Mun

ster

: W

estfa

lisch

er K

unst

vere

in,

1989

).

4.

Alv

ar A

alto

, 'T

he R

econ

stru

ctio

n of

Eur

ope

Rev

eals

the

Cen

tral

Arc

hite

ctur

al

Pro

blem

of

Our

Tim

e,'

in A

/var

Aal

to:

1898

-197

6,

ed. A

arno

Ruu

suvu

ori a

nd J

uhan

i P

alla

smaa

(H

elsi

nki:

Mus

eum

of

Fin

nish

Arc

hite

ctur

e,

1978

), p

p. 1

13-1

14;

quot

ed i

n "A

lvar

Aal

to:

Tow

ard

a S

ynth

etic

Fun

ctio

nalis

m'

by J

uhan

i P

alla

smaa

, in

A/v

ar A

alto

: B

etw

een

Hum

anis

m a

nd M

ater

ialis

m, e

d. P

eter

Ree

d (N

ew Y

ork:

Mus

eum

of

Mod

ern

Art

, 19

98),

p. 3

5.

sele

cted

b

iblio

gra

ph

y

Jorg

e P

ardo

. Ed.

Jor

n S

chaf

aff,

Bar

bara

Ste

iner

. La

ndes

bank

Bad

en-W

urte

mbe

rg

in

asso

ciat

ion

with

Can

tz, 2

000.

Tex

ts b

y P

hilip

pe P

arre

no, J

orn

Sch

afaf

f, S

teph

an

Sch

mid

t-W

ulffe

n, A

ndre

as S

pieg

el,

Bar

bara

Ste

iner

, an

d F

ranc

es S

tark

.

Jorg

e P

ardo

. Phi

lade

lphi

a: T

he F

abric

Wor

ksho

p an

d M

useu

m,

1999

. T

exts

by

Ste

ven

Bey

er,

Mar

ion

Bou

lton

Str

oud,

Pao

la A

nton

elli,

Jor

ge P

ardo

, and

Chr

istia

ne S

chne

ider

.

Jorg

e P

ardo

. Lon

don:

Roy

al F

estiv

al H

all,

1999

. T

ext b

y Ja

n T

umlir

.

Jorg

e P

ardo

. Ed.

Rus

sell

Fer

guso

n. L

os A

ngel

es:

Mus

eum

of

Con

tem

pora

ry A

rt a

nd

Chi

cago

: M

useu

m o

f C

onte

mpo

rary

Art

, 1 9

97 (

spec

ial

box

cata

logu

e).

Tex

ts b

y A

nn

Gol

dste

in,

Sta

cia

Pay

ne, a

nd a

n in

terv

iew

by

Am

ada

Cru

z.

Jorg

e P

ardo

. Aug

sbur

g: G

esel

lsch

aft f

ur M

oder

ne K

uns~

199

7. T

ext b

y T

obia

s R

ehbe

rger

.

Jorg

e P

ardo

. Tok

yo: P

erso

n's

Wee

kend

Mus

eum

, 19

93.

Tex

ts b

y G

eorg

e P

orca

ri an

d

Tim

othy

Blu

m.

1 B

orn

in 1

963

in H

avan

a, C

uba,

Jo

rge

Par

do

em

igra

ted

to t

he U

nite

d S

tate

s in

Jul

y

1969

. H

e st

udie

d at

Art

Cen

ter

Col

lege

of

Des

ign

in P

asad

ena

(198

4-19

88)

and

has

exhi

bite

d w

idel

y si

nce

his

first

sol

o sh

ow i

n 19

88.

Bes

ides

par

ticip

atin

g in

num

erou

s

inte

rnat

iona

l gr

oup

exhi

bitio

ns,

he h

as r

ealiz

ed v

ario

us p

erm

anen

t pr

ojec

ts,

incl

udin

g

Rea

ding

Roo

m a

t th

e B

oijm

ans

Van

Beu

ning

en

Mus

eum

in

Rot

terd

am i

n 19

96,

Pie

r in

the

1997

Sku

lptu

r.P

roje

kte

in M

unst

er,

and,

in 1

998,

416

6 Se

a V

iew

Lan

e (w

ith t

he

Mus

eum

of

Con

tem

pora

ry A

rt i

n Lo

s A

ngel

es).

Par

do l

ives

and

wor

ks i

n Lo

s A

ngel

es.

Par

do h

as c

ompl

etel

y tr

ansf

orm

ed

Dia

's 9

,000

sq

uare

-foo

t fir

st f

loor

in

a co

mpl

ex,

mul

tifac

eted

pr

ojec

t th

at i

nclu

des

rede

sign

ing

the

lobb

y, c

reat

ing

a ne

w b

ooks

hop,

and

stag

ing

an e

xhib

ition

in

the

reco

nfig

ured

ga

llery

. D

ia's

boo

ksho

p, w

ith a

n in

de­

pend

ent

entr

ance

and

exp

ande

d op

enin

g ho

urs,

focu

ses

on p

ostw

ar a

nd c

onte

mpo

­

rary

art

and

cul

ture

, th

eory

, hi

stor

y, a

nd p

oetr

y, a

s w

ell

as v

ideo

wor

k co

urte

sy o

f

Ele

ctro

nic

Art

s In

term

ix.

Boo

ksho

p ho

urs:

Wed

nesd

ay-S

unda

y 11

am

-6pm

Gal

lery

hou

rs:

Wed

nesd

ay-S

unda

y 12

-6pm

Sup

port

for

thi

s ex

hibi

tion

has

been

pro

vide

d by

the

Lann

an F

ound

atio

n; T

he

And

y W

arho

l F

ound

atio

n fo

r th

e V

isua

l Art

s; P

eter

Nor

ton

Fam

ily F

ound

atio

n; L

ily

Auc

hinc

loss

F

ound

atio

n; T

he F

abric

Wor

ksho

p an

d M

useu

m,

Phi

lade

lphi

a; a

nd t

he

mem

bers

of

the

Dia

Art

Cou

ncil.