Industrial architecture and negativity: the aesthetics of architecture in the works of Gordon Matta-Clark,Robert Smithson and Bernd and Hilla Becher

The modernist idea of monumentality derived its inspiration from the imagery of late-nineteenth century industrial structures. In the 1960s, this monumentality and modernist 'total design' was criticised by Robert Venturi and Denise Scott-Brown who proposed the 'ugly and ordinary' architecture and 'vital mess' of commercial populism instead. On the background of these two approaches, I will read the art works of Gordon-Matta Clark, Robert Smithson and Bernd and Hilla Bechers as giving voice to all that is forgotten, excluded or unacknowledged in architecture. The importance of these artists lies in their exploration of negativity in architecture. Their art works stage the contras, first, between the inevitable continuity of architecture as a process and its discontinuity when it is reduced to a set of objects, as well as the contrast, secondly, between the continuity of urban and architectural space and its discontinuity when our perceptions reduce it to its monumental and important parts. Negativity stands for the time 'before' and 'after' of what is commonly understood as an architecture, as well as for the 'invisible' materiality parts of urban space and buildings that are usually ignored. Today, it is in obsolete industrial architecture that negativity finds its purest expression: in the words of Walter Benjamin, the Modernists' imaginary monuments are recognised as ruins even before they have physically crumbled.