A Chronological Analysis of Utopias, Urbanism and Technology
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Ideal Cities
国際シンポジウム「イタリアの都市における文化的表象」 (国際言語文化研究所 研究所重点プログラム「風景・空間の表象,記憶,歴史」) Ideal Cities Raffaele MILANI Reflections on the subject of antiquity and the future In the history of art, we find many recurrences of antiquity, since it is a source of instruction and a model for subsequent aesthetic developments. In his studies of Neoclassical and Romantic aesthetics and poetics, Rosario Assunto1 illustrates that antiquity itself can be experienced as the future. It can be said that memory underpins all innovation and gives authenticity to new and, at times, shocking forms. Antiquity is present in artworks in the play of fantastic forms we find in masterpieces. This presence entails the reinterpretation of images from the Classicism of the Romans to that of the age of Charlemagne, from Humanism to the Enlightenment, from the Renaissance of the modern era to the Renaissance of the postmodern era. Even the Greeks reinvented their past in an “archeology of nostalgia”, to use John Boardman’s2 expression. Greek antiquity features myth, history, imagination, and personifications in an amalgam of meanings and symbols. Classicism is synonymous with values considered to be universal: perfection, proportion, equilibrium, harmony, grace, and intensity and naturalness of figures. In this sense, we can speak of a future dimension of Classicism, according to Salvatore Settis, who studies the phases of the Western artistic tradition. He argues that the more we see the “classical” not as a dead culture we inherited and for which we can take no credit but as something surprising to be recreated each day and as a powerful stimulus to understand the “other”, the more we will be able to mould future generations3. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Literary Convention in Paul Muldoon's Madoc
ABSTRACT MULLINS, MATTHEW RYAN. 20th Century Texts—19th Century Narratives: Literary Convention in Paul Muldoon’s Madoc: A Mystery and Ishmael Reed’s Flight to Canada. (Under the direction of Thomas Lisk.) This thesis explores how Paul Muldoon and Ishmael Reed use literary and historical conventions to comment on the value of literary conventions in the context of contemporary literature and culture. Muldoon uses poetic conventions in Madoc: A Mystery, while Reed uses slave narrative conventions in Flight to Canada. The value of reexamining these conventions in a contemporary context is to see their persisting importance and influence in literature and culture, and also to see where, perhaps, they may have fallen short as is the case with some of the slave narrative conventions appropriated by Reed. No previous research has placed Madoc and Flight to Canada side by side. By placing these two texts side by side, we can get a better idea of the irreducible complexity of language. Both Muldoon and Reed use language that can only be reduced to a lowest common denominator that is, in itself, complex. Both authors also offer a revisionist history that questions capital “T” truth, and the concepts of time and history in general. And, in both texts, America is critiqued for falling short of its once-ripe New World aspirations. By appropriating literary conventions, Muldoon and Reed pull two hundred years into the span of a few hundred pages, and use convention to challenge convention while learning from convention in the process. 20th Century Texts—19th Century Narratives: Literary Convention in Paul Muldoon’s Madoc: A Mystery and Ishmael Reed’s Flight to Canada. -
'…Con Uno Inbasamento Et Ornamento Alto': the Rhetoric of the Pedestal C. 1430-1550
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery Wright, A; (2011) '... con uno inbasamento et ornamento alto': The rhetoric of the pedestal c. 1430- 1550. Art History, 34 (1) pp. 8-53. 10.1111/j.1467-8365.2010.00798.x. Downloaded from UCL Discovery: http://discovery.ucl.ac.uk/1399808/. ARTICLE ‘…con uno inbasamento et ornamento alto’: the rhetoric of the pedestal c. 1430-1550. Alison Wright School of Arts and Social Sciences, University College London When, in 1504, the Florentine painter Cosimo Rosselli gave his opinion on the best situation for Michelangelo’s colossal David, he suggested it be placed by the cathedral and raised up on a high pedestal (‘uno inbasamento et ornamento alto’).1 Rosselli imagined the marble statue dominating the corner of the entrance steps, just to the right of the façade. Sandro Botticelli lent his backing to Rosselli’s view with the argument that the sculpture would here be best visible to passers-by. Against both these painters, a goldsmith, Andrea Riccio - almost certainly a local Florentine and not the Paduan bronze sculptor - proposed a position in the courtyard of the town hall, the Palazzo della Signoria.2 Here, he claims, the sculpture would be better protected and passers-by would go to see it rather than, as he vividly puts it, ‘the figure should come and see us.’3 Differences of opinion expressed in this unusually well documented debate centred above all around questions of visibility, concern for the statue’s material preservation as well as the representational and ritual needs of the Florentine government.4 Tangentially, the debate also highlighted the crucial role of the pedestal and its physical and ritual situation in mediating the encounter with sculpture. -
Siân Adiseshiah University of Lincoln, UK [email protected] The
Siân Adiseshiah University of Lincoln, UK [email protected] The unbridgeable bridge to utopia: Howard Brenton’s Greenland Written and performed just after Thatcher’s third election victory in Britain in 1987, Howard Brenton’s Greenland is an isolated example durinG this period of a Left playwright’s attempts to represent utopia on staGe. Unlike the savaGely satirical approaches of other Left plays around the same time, such as Brenton and David Hare’s Pravda and Caryl Churchill’s Serious Money (both sardonic travesties of the riGht-winG press and the City of London in Thatcher’s Britain) Greenland attempts to reconstruct a utopian future. The second act of Greenland partially resembles a utopian space usually encountered in a conventional utopian narrative, and in doinG so, has led some commentators to dismiss the play as tedious and lackinG in dramatic interest. Its lack of conflict and the contentment of its inhabitants have led to it being described as static and dull. This interpretation has brouGht with it a readinG that concurs with the character, Severan-Severan, whose view is that misery and sufferinG are essential to the human condition and that liberation is a living death. However, this approach neglects a more complex engagement with utopia that can be traced in the play. Spectators of the play - along with the non-utopian character, Joan - respond to Greenland in a way that can be illuminated by Frederic Jameson’s idea of the ‘terror of obliteration’. This paper will explore ways in which Greenland exposes psycho-political barriers to utopia, barriers that frame the spectator’s view of the play, and it will also reveal ways in which bridGes to utopia are constantly at stake. -
Measuring and Making the World: Self-Promotion, Cosmology and Elite Appeal in Filarete's Libro Architettonico
MEASURING AND MAKING THE WORLD: SELF-PROMOTION, COSMOLOGY AND ELITE APPEAL IN FILARETE’S LIBRO ARCHITETTONICO HELENA GUZIK UNIVERSITY OF OXFORD UNITED KINGDOM Date of receipt: 21st of February, 2020 Date of acceptance: 23rd of July, 2020 ABSTRACT Antonio Averlino (Filarete) (c. 1400-c. 1469) is best remembered for his architectural treatise, the Libro architettonico. Despite a longstanding tradition, beginning with Vasari, of dismissing Filarete as a mediocre artist with ridiculous ideas, his treatise ended up in some of the most prestigious courts within and beyond Italy. This article, in a corrective to that narrative, argues that Filarete was an incredibly ambitious artist and that the Libro was his attempt to channel intellectual trends of interest to the fifteenth-century ruling elite whose patronage he courted. It begins by situating the Libro within the broader context of Filarete’s consistent self-promotion and shrewd networking throughout his career. It then examines, through analysis of the text and illustrations, how the Libro was designed both to promote Filarete to his patrons and appeal to contemporary patronage tastes through its use of specific themes: ideal urban design, cosmology, and universal sovereignty. KEYWORDS Architectural Treatise, Cosmology, Intellectual Networks, Italian Court Culture, Fifteenth-century Art. CAPITALIA VERBA Tractatus architecturae, Cosmologia, Reta sapientium, Cultura iudiciaria Italica, Ars saeculi quindecimi. IMAGO TEMPORIS. MEDIUM AEVUM, XV (2021): 387-412 / ISSN 1888-3931 / DOI 10.21001/itma.2021.15.13 387 388 HELENA GUZIK Like many of his humanist contemporaries, Antonio Averlino (c. 1400-c. 1469) had a predilection for wordplay. Adopting the nickname “Filarete” later in life, he 2 cultivated his identity as a “lover of virtue”, the name’s Greek1 meaning. -
An Inquiry Into the Yeşil Yurt Dream of Servet-I Fünun A
SPACES OF AN ESCAPIST UTOPIA: AN INQUIRY INTO THE YEŞİL YURT DREAM OF SERVET-I FÜNUN A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖNENÇ KURPINAR IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE JULY 2020 Approval of the thesis: SPACES OF AN ESCAPIST UTOPIA: AN INQUIRY INTO THE YEŞİL YURT DREAM OF SERVET-I FÜNUN submitted by Gönenç Kurpınar in partial fulfilment of the requirements for the degree of Master of Science in Architecture, Middle East Technical University by, Prof. Dr. Halil Kalıpçılar Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Cana Bilsel Head of the Department, Architecture Assoc. Prof. Dr. M. Haluk Zelef Supervisor, Architecture Dept., METU Examining Committee Members: Prof. Dr. İnci Basa Architecture Dept., METU Assoc. Prof. Dr. M.Haluk Zelef Architecture Dept., METU Assoc. Prof. Ela Çil Architecture Dept., IYTE Date: 22.07.2020 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Gönenç Kurpınar Signature: iii ABSTRACT SPACES OF AN ESCAPIST UTOPIA: AN INQUIRY INTO THE YEŞİL YURT DREAM OF SERVET-I FÜNUN Kurpınar, Gönenç Master of Architecture, Architecture Supervisor: Assoc. Prof. Dr. Mustafa Haluk Zelef July 2020, 101 Pages Throughout the history, humankind has created many utopias and has used the utopian vision to build the physical environment, govern the social life or just escape from the existing reality. -
LE CORBUSIER's PRINCIPLES of CITY PLANNING and Thelr
LE CORBUSIER'S PRINCIPLES OF CITY PLANNING AND THElR APPLICATION IN VIRTUAL ENVIRONMENTS by AMlT TUNGARE Bachelor of Architecture, University of Pune, lndia Master of Planning, School of Planning and Architecture, New Delhi, lndia A thesis submitted to the Faculty of Graduate Studies and Research in the partial fulfilment of the requirements of the degree of Master of Architecture School of Architecture Carleton University, Ottawa, Ontario, May, 2001 O 2001, Amit Tungare National Library Bibliothèque nationale 1*1 of Cam& du Canada Acquisitions and Acquisitions et Bibliographie Services senfices bibliographiques 395 Wellington Street 395, rue Wellington OttawaON KlAON4 Ottawa ON K1A ûN4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lîbraly of Canada to Bibliothèque nationale du Canada de reproduce, 10- distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. The objective of this thesis is to develop an approach to understanding the concept of 'Virtual City' by drawing information from the disciplines of architecture and city planning. -
Rethinking Architectural Historiography Begins by Renegotiating Foundational and 9 Contemporary Boundaries of Architectural History in Relation to Other Cognate fields
1111 2 Rethinking Architectural 3 Historiography 4 5 6 7 8 9 1011 1 2 3111 4 5222 Rather than subscribing to a single position, this collection informs the reader about 6 the current state of the discipline looking at changes across the broad field of 7 methodological, theoretical and geographical plurality. Divided into three sections, 8 Rethinking Architectural Historiography begins by renegotiating foundational and 9 contemporary boundaries of architectural history in relation to other cognate fields. It then goes on to engage critically with past and present histories, disclosing assump- 20111 tions, biases and absences in architectural historiography. It concludes by exploring 1 the possibilities provided by new perspectives, and reframing the discipline in the 2 light of new parameters and problematics. 3 Featuring distinctive contributions from authors with a range of expertise on the 4 writing, teaching and practice of architectural history, this timely and internation- 5 ally relevant title reflects upon the current changes in historiographical practice. This 6 book explores potential openings that may contribute to further transformation of 7 the discipline and theories of architectural historiography, and addresses the current 8 question of the disciplinary particularity of architectural history. 9 30111 Dana Arnold is Professor of Architectural History and Director at the Centre for Studies in Architecture and Urbanism, University of Southampton, UK. 1 2 Elvan Altan Ergut is Assistant Professor and Vice Chair in the Department of 3 Architecture at Middle East Technical University, Ankara, Turkey. 4 5 Belgin Turan Özkaya is Associate Professor of Architectural History in the 6 Department of Architecture at Middle East Technical University, Ankara, Turkey. -
The Law-Based Utopia the Law-Based Utopia
14 The Law-Based Utopia MIGUEL ANGEL RAMIRO AVILÉSAVILES The main aim of this paper is to describe how and why law is more important in one of the ideal society models, Utopia, than in the other fourfour.. models of ideal society - which 1I call Abundantia, Moralia, l Millennium and Naturalia. I The best way to set out the argument intimated in the title is through a typology of ideal societies. The starting point is the affirmation that not every ideal society is Utopia. Not every detailed description of an ideal society has the same structure. The Spanish historian, JoséJose Antonio Maravall, tells us that utopian thought reflects a comparison between 'the experience of the real city where in fact men live' and 'the yearning for the ideal society that directs us toward stronger or less strong aspirations for reform'. This aspiration 'appears in different forms from the earliest years of Western history' (Maravall, 1976, pp.13-14). The existence of a typology is basic to understanding how law, as a particular normative system, operates in just one of the ideal society models: the Utopian model of the eponymous book written by Thomas More. 2 By considering sornesome elements of the utopian model and its history, 1I will try to describe this relationship between law (and the state) and Utopia. If we start from the original title, we will find that what we call Utopia is really Concerning the Best State of a Commonwealth and the New Island of Utopia. In The Oxford English Dictionary, Utopia, as the first exemplar, is described as 'an imaginary island, depicted by Thomas More as enjoying a perfect social, legal and political system'. -
2013 New Lanark, Scotland
Utopian Studies Society (Europe) 14th. International Conference 1-4 July 2013 New Lanark, Scotland List of Abstracts Allison, Mark (Ohio Wesleyan University, USA) Society is a Beautiful and Simple Science: The Aesthetics of Owenite Socialism The socialist culture of late nineteenth-century Britain is frequently characterized as “aesthetic” or “artistic.” Owenite socialism, by contrast, is regularly described as “Spartan,” “austere,” or even “utilitarian.” The great scholar of Owenism, J. F. C. Harrison, maintained that “Owenites did not produce creative worKs of high literary quality, nor did they maKe any distinctive contributions in other art forms. There was nothing liKe the worK of William Morris and the artistic socialists of the 1880s, nor was there anything resembling the communitarian architecture and furniture of the ShaKers.” I want to challenge these characterizations and maKe a case for the aesthetic character of Owenite socialism. It is true that if we cast about for a robust discourse of aesthetics, or for the Owenite’s answer to William Morris, we come up empty. But such exertions only distract us from what is hiding in plain sight: the aesthetic substratum of Owen’s communitarian vision itself. In this paper, I read several versions of the Plan, as well as topographical and architectural diagrams of the “Villages of Unity and Mutual Co-operation,” in order to argue that Owen’s social theory itself contains a constitutive aesthetic dimension. My goal is call into question certain longstanding generalizations about Owenism—and, ultimately, the division between an early “ascetic” and late “aesthetic” British socialism. Anastasopoulos, Nicholas (National Technical University of Athens, Greece) Architecture typologies and cities: embodiment or impediment to utopias Vidler, Harvey and others comment on the ability that building types, planning and spatial features have, to crystallize social forms and to sustain particular social orders and behaviors. -
Architecture and Sexuality in the Words of Filarete
01 Mark Jarzombek Architecture and Sexuality in the Words of Filarete Trattato di architettura (“Treatise on Architecture”) was written by Antonio di Pietro Averlino, known as Filarete (c. 1400—c. 1469), sometime around 1464. Unlike the treatise written by Leon Battista Alberti, De re aedificatoria (“On the Art of Building,” 1443-1452), which is more scholarly in tone, this book has at the core of its narration an ideal city, Sforzinda, named after Francesco Sforza, the Duke of Milan, and Filarete’s patron. The city was never built, but described in great detail in the treatise. We do not know all that much about Filarete’s life except that he was born in Florence, where he probably trained as a craftsman. He then worked in Rome under the Italian painter and architect, Lorenzo Ghiberti. It was during this time that 6 he adopted the name “Filarete” which means “a lover of virtue.” In the mid 15th century, he moved to Milan where he became a ducal engineer and worked on a variety of architectural projects for the next fifteen years. Like Alberti, Filarete was a champion of the classical world arguing against the Gothic manner of Northern Italy, which he calls the “barbarous modern style.” Unlike Alberti, however, who lists and discusses the various skills that the architect needs, including a relationship with the patron that we might today term as professional, Filarete, who adopts a story-telling mode for much of the treatise, argues that the relationship between patron and architect is much more intimate. First the architect, like a wife, bears the patron’s building.