Abstract

The aim of this article is to return to the concept of bricolage as theorized in 1962 by the French anthropologist Claude Lévi-Strauss and examine its presence and utility in the art and architectural history of the twentieth century. While Lévi-Strauss was the first theorist to present bricolage as an analogy for the creation of mythical thought among indigenous cultures, the concept has seen a wide range of conceptual, methodological and practical applications across different fields, including design, visual arts, urban planning and the built environment. This article will examine the applicability of bricolage as a technical metaphor for the creative process and its relevance to artistic creation by tracing its trajectory over the course of the twentieth century. It will evaluate the significance of objects and events of ‘everyday life’ in the creative practices of contemporary artists, and draw attention to the emerging role of the architect as bricoleur or improviser, to conclude that it was the art of the ‘ordinary’ that gave creative inspiration to twentieth-century artists and architects to engage with the materiality and past experiences of the world.