Lauren McQuistion a designer, educator, and researcher of the built environment. She is currently completing her PhD in the Constructed Environment at the University of Virginia where she is studying the spatialized history of the Whitney Museum of American Art and the role of institutional formations (built, ideological, and disciplinary) play in the shaping of cultural identity and a shared sense of cultural temporality.
Lauren coordinates and teaches foundational and advanced design studios and specialized courses in the histories and theories of spatial thinking. She has worked professionally in the field of architecture, drawing on her diverse experiences in firms across the country to bring new perspectives to her research, practice, and teaching. She graduated from the University of Virginia School of Architecture with a Bachelor of Science in Architecture and a Minor in Architectural History and the University of California Berkeley with a Masters of Architecture. Address: Boston, MA
112th ACSA Annual Meeting Proceedings, Disruptors on the Edge, 2024
In the fall of 1982, Dean Jaquelin Robertson of the University of Virginia’s School of Architectu... more In the fall of 1982, Dean Jaquelin Robertson of the University of Virginia’s School of Architecture staged a two-day conference on the state of architectural practice. Held in UVA’s Rotunda, the closed-door conference included twenty-four invited architects. The group, although ideologically diverse, was notably entirely male and overwhelmingly Euro-American. Those in attendance included established and emerging architects Philip Johnson, Paul Rudolph, Tadao Ando, Peter Eisenman, Robert Stern, Michael Graves, Frank Gehry, and Rem Koolhaas among others. Organized much like a studio review, each architect presented a single, unpublished project which was then critiqued and debated by the group. The full transcript of the proceedings, was later published by Rizzoli. The Charlottesville Tapes, was intended as the first in a recurring series of conferences and publications of “architects on architecture” emphasizing the role of designers, rather than critics, historians, or journalists in establishing the discourse of contemporary practice.
The artist Eva Hesse (1936–1970) and her work, ranging from traditional painting and drawing to h... more The artist Eva Hesse (1936–1970) and her work, ranging from traditional painting and drawing to highly inventive bas-relief and sculptural form, are frequently interpreted through the lenses of biography, psychology, and gender, contributing to a prevailing narrative of a troubled and tragic artist figure. This dominant understanding of Hesse’s oeuvre has largely emerged from the interpretation of the artist’s own words, in the form of diary entries and interviews, and the published interpretations of these texts by scholars, peers, and critics, who frequently dwell on the narrative of Hesse’s short and challenging life. However, a closer look at the documentation of the artist’s own process of making, one that combined a near-daily writing practice, close annotations of choices made and executed in her work, and her emphasis on material experimentation, reveals an alternative reading of her writing and work. This paper will first explore the origins of the existing scholarship dedi...
112th ACSA Annual Meeting Proceedings, Disruptors on the Edge, 2024
In the fall of 1982, Dean Jaquelin Robertson of the University of Virginia’s School of Architectu... more In the fall of 1982, Dean Jaquelin Robertson of the University of Virginia’s School of Architecture staged a two-day conference on the state of architectural practice. Held in UVA’s Rotunda, the closed-door conference included twenty-four invited architects. The group, although ideologically diverse, was notably entirely male and overwhelmingly Euro-American. Those in attendance included established and emerging architects Philip Johnson, Paul Rudolph, Tadao Ando, Peter Eisenman, Robert Stern, Michael Graves, Frank Gehry, and Rem Koolhaas among others. Organized much like a studio review, each architect presented a single, unpublished project which was then critiqued and debated by the group. The full transcript of the proceedings, was later published by Rizzoli. The Charlottesville Tapes, was intended as the first in a recurring series of conferences and publications of “architects on architecture” emphasizing the role of designers, rather than critics, historians, or journalists in establishing the discourse of contemporary practice.
The artist Eva Hesse (1936–1970) and her work, ranging from traditional painting and drawing to h... more The artist Eva Hesse (1936–1970) and her work, ranging from traditional painting and drawing to highly inventive bas-relief and sculptural form, are frequently interpreted through the lenses of biography, psychology, and gender, contributing to a prevailing narrative of a troubled and tragic artist figure. This dominant understanding of Hesse’s oeuvre has largely emerged from the interpretation of the artist’s own words, in the form of diary entries and interviews, and the published interpretations of these texts by scholars, peers, and critics, who frequently dwell on the narrative of Hesse’s short and challenging life. However, a closer look at the documentation of the artist’s own process of making, one that combined a near-daily writing practice, close annotations of choices made and executed in her work, and her emphasis on material experimentation, reveals an alternative reading of her writing and work. This paper will first explore the origins of the existing scholarship dedi...
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Papers by Lauren McQuistion
Those in attendance included established and emerging architects Philip Johnson, Paul Rudolph, Tadao Ando, Peter Eisenman, Robert Stern, Michael Graves, Frank Gehry, and Rem Koolhaas among others. Organized much like a studio review, each architect presented a single, unpublished project
which was then critiqued and debated by the group. The full transcript of the proceedings, was later published by Rizzoli. The Charlottesville Tapes, was intended as the first in a recurring series of conferences and publications of “architects on architecture” emphasizing the role of designers, rather than
critics, historians, or journalists in establishing the discourse of contemporary practice.
Those in attendance included established and emerging architects Philip Johnson, Paul Rudolph, Tadao Ando, Peter Eisenman, Robert Stern, Michael Graves, Frank Gehry, and Rem Koolhaas among others. Organized much like a studio review, each architect presented a single, unpublished project
which was then critiqued and debated by the group. The full transcript of the proceedings, was later published by Rizzoli. The Charlottesville Tapes, was intended as the first in a recurring series of conferences and publications of “architects on architecture” emphasizing the role of designers, rather than
critics, historians, or journalists in establishing the discourse of contemporary practice.