DOCSLIB.ORG

Charles Jencks

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Charles Jencks 1 Institut Supérieur d’Architecture de la Communauté Française – La Cambre 19 Place Flagey 1050 Bruxelles Charles Jencks Œuvre, histoire et fortune du critique d’architecture Par Roels Christine Travail de Fin d’Etudes Promoteur : Jean-Didier Bergilez Année académique 2008-2009 – Travail de Fin d’Etudes – septembre/octobre 2009 2 En couverture « Another issue we produced in 1987 was “Post-Modernism and Discontinuity”. You can see on the cover a funny mixture of characters. The painting by Karl Loubin shows Andreas Papadakis, the publisher, talking to Jim Stirling and Jim Stirling, talking to Leon Krier ; James Gowan, Terry Farrell, Fenella Dixon and me, all set within Jeremy Dixon’s new opera house. That gives you an idea of the way Andreas saw Post-Modernism. You can see that with the Dixon and Jones building it is becoming close to a revival of the classicism that Leon was promoting. We also published in this issue the Clore Gallery of Jim Stirling, and Terry Farrell’s urban work. Farrell, of course, became the most famous London practitioner of Post-Modernism. » Charles JENCKS in Helen CASTLE, « A critical contribution: Charles Jencks and AD, 1977-2000 », Architectural Design, vol. 70, n° 6, décembre 2000, p. 99. Les notes à suivre sont, comme ce tableau, un récit construit avec des codes de forme et des inspirations du réel, pour rendre de façon imagée une situation faite de relations entre personnes, des édifications d’un environnement culturel et des idées menant à leur évolution d’ensemble. Charles Jencks y est un personnage. L’origine de ce document graphique, et le moment de l’histoire de l’architecture qu’il représente, renvoient à la période de la vie professionnelle de Charles Jencks dont il sera beaucoup question dans la suite. 3 Table des matières En couverture Table des matières Préface (1 page) Introduction: Charles Jencks (5 pages) Intermède (1 page) Chapitre I : Son arbre évolutionniste (10 pages/ 8 planches d’illustration) Intermède (1 page) Chapitre II : Sa théorie du langage architectural (13 pages/ 2 planches d’illustration) Intermède (1 page) Chapitre III : Sa participation à la Biennale de Venise de 1980 (20 pages/ 21 planches d’illustration) Intermède (1 page) Chapitre IV : Sa bibliographie (31 pages) Glossaire des citations (3 pages) Conclusion : Charles Jencks, un critique d’architecture (7 pages) Postface : « Le Corbusier, c’est John Wayne ! » (5 pages) Bibliographie Abstract et remerciements 4 Préface 5 Il examine la couverture d’un de ces livres posés sur un plan de travail et dit : « Charles qui ? Charles J…Jen… ?! Charles Jencks ! Un illustre inconnu pour moi. » Ce meuble est l’un de ceux introduits dans la plupart des ateliers du petit monde de l’architecture : un panneau de MDF posé sur deux trépieds. Je n’oserais dire la même chose à propos d’un bouquin de Charles Jencks mais j’annonce qu’il s’agit bien ici de traiter de cet illustre auteur. Ce travail de fin d’études a été réalisé avec l’ambition de concevoir une monographie d’un critique d’architecture. Ces deux concepts m’étaient, au départ, relativement étrangers dans leur propre genre, d’objet et de sujet. Ils se retrouvent néanmoins au sein de cette forme finale, au sein d’un ensemble d’écrits thématisé autour de la fortune des œuvres de Charles Jencks. Cette question n’est pourtant pas l’objet de la recherche mais un motif de liaison discursive entre divers éclairages sur une large production aux multiples aboutissements. A l’instar du constat de Charles Jencks de la pluralité de l’écriture de l’histoire de l’architecture, sont défendus, au sein de ce travail, la pluralité des approches d’un sujet et d’un thème, la construction originale et spécifique d’un récit de type monographique. Je voulais que celui-ci soit le reflet de la personnalité complexe de son sujet. Jencks est ici considéré autant par son statut professionnel le plus abstrait, un nom indiqué en fin d’article, que par sa carrure d’homme de terrain, identifié à travers ses contacts professionnels ou comme humble être humain, confronté au sort de la vie. J’allie volontiers la petite histoire aux développements à caractère théorique car l’insignifiant au premier abord peut, selon moi, mettre pertinemment les idées en contexte. La lecture érudite et exhaustive des œuvres de Charles Jencks n’est certainement pas un objectif. Par contre, je propose une présentation du sujet, qualifiée à armer le lecteur pour de futurs parcours croisant celui-ci. En vue de ce dernier objectif, le moteur de l’écriture de ce travail a été d’enrichir les textes dans leur dimension informative et interprétative vis-à-vis du lecteur. Ils sont des corps hétérogènes constitués de paraphrases, de citations, d’énumérations factuelles, de critiques personnelles. Je convoque une série de personnes ayant partagé publiquement leurs avis sur la conduite de Charles Jencks. Ils marquent autant leur empathie pour ses travaux que leur hostilité. Je crois qu’il est important de traiter d’un critique d’architecture selon le degré et la constitution de sa participation au débat commun. Celui-ci est mené dans les universités, dans les pages de revues, dans les colloques, lors de grands rassemblements. Si les regards rétrospectifs sont aussi considérés, ce débat ne s’éteint jamais. La sélection, que j’ai effectuée sur des documents d’origine et des intervenants, apporte des exemples concrets à cette intuition de départ. Chaque chapitre de ce volume se distingue donc par ses deux corps ; soit un document tiré de la littérature relative à Jencks, à la nature variable mais anticipée avec préparation - telle une prise dans une partie de pêche sur un grand lac - et un texte le précédant, à caractère introductif, descriptif et analytique, écrit de ma main. Ce travail s’est construit lentement, au cours de deux années académiques, au fil d’autres travaux, sous la gouverne lâche mais toujours présente d’une thématique d’ateliers et de cours à options, « Les années septante et leur actualité », revisitée par le Laboratoire Histoire Théorie Critique de l’ Institut Supérieur d’Architecture La Cambre. Le champ d’investigation y a reçu peu à peu ses limites. La plupart des réflexions y ont été alimentées par les contacts entre ce sujet et mon entourage intellectuel, qu’ils aient été provoqués, indirects ou fortuits – par les recherches, discussions, anecdotes, lectures, conférences, notes, humeurs, etc. Pour cela, je leur suis reconnaissante. 6 Introduction Charles Jencks 7 Fortune : chance, hasard, malchance, vicissitude, risque, adversité, bonheur, malheur… Charles Alexander Jencks est né en 1939 à Baltimore, une ville du Maryland, un Etat de la côte Nord-Est des Etats-Unis. Il campe malgré ses origines un personnage savoureusement british. En 1961, il décroche un baccalauréat en littérature anglaise à l’Université de Harvard et poursuit ses études en architecture à la Graduate School of Design jusqu’en 1965. Lors de celles-ci, il reçoit les enseignements de Siegfried Giedion. Cette même année de la mi-décennie marque son arrivée en Grande-Bretagne. De 1965 à 1967, il est étudiant de la prestigieuse Architectural Association School . En 1970, il achève un doctorat en histoire de l’architecture à l’Université de Londres, mené sous la direction de Reyner Banham. L’ouvrage, « Modern Movements in Architecture », publié dès 1973, est la thèse qu’il rédige sur deux ans. De 1968 à 1988, Charles Jencks tient un poste d’enseignant dans cette école qu’il a fréquenté quelques années auparavant, la AA School . Il y a rencontré en 1971 sa future épouse et mère de ses deux enfants, John et Lily. Maggie Keswick Jencks est auteure, architecte paysagiste et peintre. Tandis qu’elle affine ses connaissances de l’art du jardin chinois, Charles Jencks débute une longue et prometteuse carrière de critique d’architecture. Entre 1969 et 2007, la parution de livres signés de son nom peut se compter à un rythme presque annuel, de nombreux ouvrages bénéficiant de traductions multiples jusqu’en 1990 et certains incontournables, comme « The Language of Post-Modern Architecture », revus à l’occasion de plusieurs rééditions. Cette production régulière couplée à une participation active au marché de la presse d’architecture assoit sa renommée internationale. Celle-ci se manifeste encore par ses visites et conférences dans plus de quarante universités européennes ou nord-américaines et atteint un point d’orgue en 2003, par cet événement mondial que seuls les plus grands peuvent revendiquer à leur actif, par un World Lecture Tour, « The Garden of Cosmic Speculation ». Sa popularité – « le remarquable Charles Jencks1 » ; « l’étrange attracteur2 » ; « Il est une icône, vingt ans auparavant ce n’était que de la théorie, et regardez ce qu’il fait maintenant !3 » - doit être due à son attachement tant au milieu des initiés qu’à celui du grand public, et à sa capacité à mener sa barque vers des horizons toujours nouveaux, sans pour autant laisser ce qu’il dépose dans son sillage disparaître trop rapidement. Il rédige ainsi des articles pour des revues spécialisées. Il est éditeur aux Academy Editions. Il contribue à des parutions de journaux de la grande presse anglaise. Plus originales sont ses apparitions dans ou créations de documentaires télévisuels, comme ceux consacrés à Le Corbusier, Frank Lloyd Wright et Michael Graves, pour la BBC. À côté du chercheur et de l’écrivain, Charles Jencks mène une pratique de concepteur. Jusqu’au milieu des années 1980, il est à l’origine d’objets de fourniture domestique comme le service à thé et à café Alessi de 1983, « Architecture in Silver », et d’édifices : la « Garagia Rotunda » à Truro dans le Massachusetts, 1976-1977, « The Elemental House » avec Buzz Yudell à Los Angeles et « The Thematic 1 Titre de l’article de Janjaap RUIJSSENAARS, archined – NAI Maastricht, 31 mars 2008, http://www.archined.nl/nieuws/charles-jencks-strange-attractor/ (Je traduis.) 2 Titre de l’article de Hugh PEARMAN, « The remarkable Charles Jencks and his Highlands Maggie's Centre: a new building type emerges », The Sunday Times, 12 juin 2005, sous le titre « Healthy and wise » ou http://www.hughpearman.com/articles5/maggies_highlan.html .
Load more

Recommended publications
  • Ashley Schafer 275 W
    Ashley Schafer 275 W. Woodruff Avenue, Columbus, OH 43210 / +1 617 905 4915 / [email protected] EDUCATION Columbia University Graduate School of Architecture, Planning and Preservation Master of Architecture, 1998 AWARDS William Kinne Traveling Fellowship, 1998 AIA Foundation Scholarship, 1997-1998 Teaching Assistant Fellowship, 1996-1998 University of Virginia, School of Architecture Bachelor of Science, Architecture, 1987, minor in English ACADEMIC APPOINTMENTS Associate Professor of Architecture with tenure, Ohio State University, 2005-present Head of Architecture, 2005-2009 Chair, Master of Architectural Studies Program, 2006-2011 Visiting Associate Professor of Architecture, Massachusetts Institute of Technology, 2010-2011 Associate Professor of Architecture, Harvard University Graduate School of Design, 2004-2005 Assistant Professor of Architecture, Harvard University Graduate School of Design, 2001-2004 Visiting Professor of Architecture, Harvard University, Graduate School of Design, 2000-2001 Assistant Professor of Architecture, Tulane University, 1998-2000 GRANTS, AWARDS AND FELLOWSHIPS US State Department, Bureau of Educational and Cultural Affairs, US Pavilion, Venice Biennale, 2014 Distinguished Visiting Scholar, Tulane University Department of Architecture, 2013 Graham Foundation for Advanced Studies in the Arts, Grant for Publication (with the Architectural League of New York), 2012 National Endowment for the Arts, Creativity Grant in Design, 2004-2005, Largest Award in Design I.D. Design Award for PRAXIS cover,
    [Show full text]
  • 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
    [Show full text]
  • Portico 5 Features 16 College Update 20 Faculty Update 29 Honor Roll 40 Class Notes 47 in Memoriam 48 Student Update 53 Calendar
    university of michigan taubman college of architecture and urban planning fall 2010 portico 5 features 16 college update 20 faculty update 29 honor roll 40 class notes 47 in memoriam 48 student update 53 calendar Cover image: Exterior rear, house of Mr. and Mrs. Robert C. Metcalf, 1952, Ann Arbor, MI. Photograph courtesy of the Bentley Historical Library, University of Michigan. ii Figure 1. Macallen Project Before becoming dean at Taubman College of Architecture Constructing Green: and Urban Planning, I was a professor of architecture at Harvard University were I taught design studios; lecture and seminar courses on topics, including digital technology Sustainability and the and the history of design; and an introductory course on the environmental impact of material selection and application. Places We Inhabit I am also a practicing architect and as such, I have dealt with the struggle to do the right thing on real projects, in real time, A paper presented by Dean Monica Ponce de Leon at UM with real budgets and real constraints. As someone who has Ross School of Business for the Erb Institute for Global and a foot firmly planted in academia, and a foot firmly planted Sustainable Enterprise’s conference in practice, through this essay, I wanted to address the design 1 10000 be dependent on access to innovation and information so that 9000 designers, owners and users can make informed choices. 8000 Today many designers see third-party certification systems 7000 as the only viable solution to the environmental impact of 6000 buildings. Third-party certification systems and organizations 5000 have become increasingly streamlined, recognized and 4000 respected.
    [Show full text]
  • Of Frank Gehry's Los Angeles Katherine Shearer Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The "Postmodern Geographies" of Frank Gehry's Los Angeles Katherine Shearer Scripps College Recommended Citation Shearer, Katherine, "The "Postmodern Geographies" of Frank Gehry's Los Angeles" (2017). Scripps Senior Theses. 1031. http://scholarship.claremont.edu/scripps_theses/1031 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE “POSTMODERN GEOGRAPHIES” OF FRANK GEHRY’S LOS ANGELES BY KATHERINE H. SHEARER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR GEORGE GORSE PROFESSOR BRUCE COATS APRIL 21, 2017 ACKNOWLEDGEMENTS First and foremost, I wish to thank my primary reader, Professor George Gorse. In the spring of my sophomore year, I took Professor Gorse’s class “Modern Architecture and Sustainability,” during which I became enthralled in the subject by his unparalleled passion for and poetic articulation of architectural history. Having been both his student and advisee, I am eternally grateful for the incredible advice, challenging insights, and jovial encouragement that Professor Gorse has always provided. I will also forever be in awe of Professor Gorse’s astonishing mental library and ability to recall entire names of art historical texts and scholars at the drop of a hat. I would also like to thank my secondary reader, Professor Bruce Coats, who made himself available to me and returned helpful revisions even while on sabbatical.
    [Show full text]
  • Joy Knoblauch 2000 Bonisteel Boulevard Ann Arbor, MI 48109-2069 USA 609 216 2742 [email protected] Twitter: @Omgknoblauch
    Joy Knoblauch 2000 Bonisteel Boulevard Ann Arbor, MI 48109-2069 USA 609 216 2742 [email protected] twitter: @OMGknoblauch EDUCATION Ph.D. in History and Theory of Architecture, Princeton University School of Architecture (2012) Master of Environmental Design, Yale University School of Architecture (2006) Bachelor of Architecture, Cornell University (2002) RESEARCH FOCUS Architecture and Government; Design and the Human Sciences ACADEMIC EXPERIENCE Assistant Professor in Architecture, University of Michigan Taubman College of Architecture and Urban Planning, Fall 2012 - Present Adjunct Assistant Professor, Columbia University, Graduate School of Architecture, Planning, and Preservation, Summer 2012 Assistant in Instruction Positions at Princeton University School of Architecture: Introduction to Architectural Thinking (Undergrad.), with Stan Allen and Jeff Kipnis, Fall 2009 China Studio: The New Urban Temporalities of Suzhou, China (M.Arch), with Mario Gandelsonas, Fall 2008 Thesis Preparation (Undergraduate), with Catherine Ingraham, Spring 2008 Computers and Representation (Undergraduate), with Sean Daly, Fall 2007 Contemporary Architectural Discourse Colloquium, Yale University School of Architecture, Spring 2006 Instructor, Introduction to Architecture Studio, Cornell University, Summer 2005 GRANTS and AWARDS Subvention Funding, UMOR ($5,000) and Taubman College ($5,000) February 2018 Joy Knoblauch - Curriculum Vitae 1 ADVANCE Faculty Summer Writing Grants Program, University of Michigan, Summer 2017 ($3,000) Fulbright Canada, The
    [Show full text]
  • Four (+1) Studios
    1 FOUR (+1) STUDIOS 7 PAPERS and an EPILOGUE Ann Pendleton-Jullian Architect 1 PRAISE FOR FOUR (+1) STUDIOS Given the fact that over the past two decades intellection and technology have conspired to subject the architectural design studio to so profound a sea change, one would imagine that the discipline’s discourse would roil with debate on the transformations of the studio and their consequences. Yet where one expects a tumult, one instead finds a casual indifference. There are of course endless writings about how architecture as a final product should respond to these changes, and admiring accounts aplenty of this or that studio academic and professional. But few writings consider the effects of that sea change on the fundamental assumptions, means and methods of the studio itself, even though it is those machinations above all that endow architecture with its place in the world. For all of our prattle about how different is today, it seems we still take for granted that the conventional model of the studio is magically endowed with the ability to address any and every cultural, scientific and economic environment no matter how exotic. In her collection of essays, Four (+1) Studios, Ann Pendleton-Jullian takes a decisive step toward correcting such indefensible nonchalance. Smart, provocative, and personal, her considered argument portrays the architecture studio as an agile event space that has evolved rapidly over time and speculates on how it might better adapt to the new and strange world it finds itself in today. More for the inquiry it launches than for the certainty of its conclusions, Four (+1) Studios is a must.
    [Show full text]
  • Stephen J. Phillips, AIA, Ph.D. EDUCATION M.A. Princeton University, SCHOLARSHIPS, GRANTS, and AWARDS Graham Foundation for Ad
    Stephen J. Phillips, AIA, Ph.D. 10424 Hebron Lane, Los Angeles, CA 90077 www.sparchs.net www.calpolylametro.com [email protected] EDUCATION Ph.D. Princeton University, Program in History and Theory, School of Architecture, 2008 M.A. Princeton University, Program in History and Theory, School of Architecture, 2003 M.Arch. University of Pennsylvania, Graduate School of Architecture, 1994 B.A. Yale University, Major in Architecture, 1991 SCHOLARSHIPS, GRANTS, AND AWARDS Graham Foundation for Advanced Studies in the Fine Arts, Publication Grant, Chicago, IL, 2015 Creative Achievement Award, ACSA National Design Education Award, Washington D.C., 2015 Verla and Paul Neel Faculty Scholarship, Professional Development, Cal Poly State University, 2013 Bruno Zevi Foundation Prize, Special Mention, Best History and Theory Essay, Rome, Italy, 2011 J. Paul Getty Foundation, Postdoctoral Residential Fellowship, Los Angeles, 2009-2010 Smithsonian American Art Museum, Postdoctoral Residential Fellowship, Washington D.C., Summers 2009, 2010 Graham Foundation for Advanced Studies in the Fine Arts, Research Grant, Chicago, IL, 2009 New Faculty Teaching Award, ACSA/AIAS National Design Education Award, Washington D.C., 2009 Canadian Centre for Architecture, Collection Research Grant, Montreal, 2006 MuseumsQuartier Artist-in-Residence Grant, Resident and Research Fellowship, Vienna, 2005 Butler, Shanley, Cramer Architecture Travel Fellowships, Princeton University 2001, 2002, 2003, 2004 Graduate School Teaching Award Nomination, Princeton University, School
    [Show full text]
  • Architectsnewspaper 16^10.5.2004
    THE ARCHITECTSNEWSPAPER 16^10.5.2004 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 OPPONENTS' PETITION TO C/) HALT CITY REVIEW PROCESS 04 DENIED DESIGN SAVES LU AIA-NY ANNOUNCES I- DEMOCRACIES HUDSON O 05 4 AWARD WINNERS o YARDS STILL COPYCAT CAUGHT 08 ON TRACK WHALES,BEETLES, ETC., AT THE The Hudson Yards Development Plan went forward with a public hearing on VENICE BIENNALE Thursday, September 23, after a judge Tl ruled against a group of Far West Side residents and businesses that sued the HOLY BATTLE, city and Metropolitan Transit Authority to SACRED GROUND halt review of the project. The suit, filed in Daiki Theme Park by Ga. A Architects, the State Supreme Court in Manhattan on 03 EAVESDROP Mass Studies, and Cho/Slade Architecture August 26, centered on the Draft Generic 15 CLASSIFIEDS Environmental Impact continued on page 3 On September 20, the New York chapter of projects for non- profits," she commented. the AIA announced the winners of its annual "It is very challenging to do, and these proj• design awards. After a long day of poring ects were handled well." Their admiration STATEN ISLAhI D DEDICATE^^ Sono, an architect at Voorsanger & was not limited to work done for under over almost 400 submissions, which are 9/11 AjEMOR] Associates Architects in Manhattan, restricted to AIA New York members or New $200 per square foot. After Joy presented arrived at his concept serendipitously. As York State-licensed architects practicing in Peter Gluck's Scholar's Library, a tiny box in part of his routine design process, he uses New York City, jurors presented their winning the woods in upstate New York for a private postcards to build parti models.
    [Show full text]
  • European Architectural History Network Restricted Way to Operate As an Organization), Nonetheless People Are Very Happy to at Guimarães, Portugal from 17-20 June 2010
    european architectural history Nº2/08 network colophon eahn Newsletter Nº2/08 colophon front cover president The eahn Newsletter is a publication Map of Groningen from Joan Blaeu, Christine Mengin Bernd Kulawik of the European Architectural History Toonneel der steden van ‘s Konings Rui Lobo Nº2/08 Network. Nederlanden, Amsterdam, ca. 1651 vice-president Jan Molema © 2008 European Architectural Photograph: Rob Dettingmeijer Rob Dettingmeijer Dietrich Neumann History Network. Ivan Nevzgodin All rights reserved. No part of this correspondence committee members Alona Nitzan-Shiftan publication may be reproduced or Comments are welcome. Barbara Arciszewska Carmen Popescu transmitted in any form or by any Andrew Ballantyne Nancy Stieber means, electronic or mechanical, eahn Jan Kenneth Birksted Karin Theunissen including photocopy, recording, or c/o ®mit, tu Delft Maristella Casciato Alice Thomine-Berrada an information storage and retrieval Faculty of Architecture Jorge Correia Belgin Turan Özkaya system, without permission in writing p.o. Box 5043 Martin Ernerth from the eahn. 2600ga Delft Reto Geiser The Netherlands Simone Hain issn 1997-5023 Hilde Heynen [email protected] [email] Susan Klaiber www.eahn.org [url] 2 eahn newsletter Nº2/08 contents contents eahn Newsletter Nº2/08 1 President’s Message Christine Mengin and Rob Dettingmeijer 2 News EAHN First International Meeting: Call for Session Proposals About Guimarães EAHN at the SAH Annual Meeting 2008 Summary of Proceedings, EAHN Annual Business Meeting 2008 On the Calendar 3 Explorations
    [Show full text]
  • Brito, Miguel Ângelo Pintado De, 1985- Desconstrutivismo : Da Origem À Ação
    Universidades Lusíada Brito, Miguel Ângelo Pintado de, 1985- Desconstrutivismo : da origem à ação http://hdl.handle.net/11067/4366 Metadados Data de Publicação 2018 Resumo O intuito desta dissertação é entender o Desconstrutivismo como movimento, referindo a sua origem e influências. A pesquisa foi conduzida à Primeira Era da Máquina, marcada pela revolução industrial e pelo desenvolvimento científico e tecnológico. O Construtivismo Russo surgiu neste contexto como um movimento moderno para construir uma sociedade adequada ao seu tempo. Encontramos a génese do Desconstrutivismo nos trabalhos e na teoria de Malevich, Chernikov, Leonidov e El Lissitzky, que servira... The main goal of this dissertation is to understand Deconstructivism as a movement, tracing back his major influences and origin and conducting the research to the First Age of the Machine, that was setted by the industrial revolution. The technologic and scientific advances served as base to the Russian Constructivism: a modern movement designed to build a society that fits its time. The genesis of Deconstructivism is found on the works and theories of Malevich, Chernikov, Leonidov and El Liss... Palavras Chave Desconstrutivismo (Arquitectura), Construtivismo (Arquitectura), Arquitectura - Design assistido por computador, Arquitectura moderna - Filosofia - Século 20 Tipo masterThesis Revisão de Pares Não Coleções [ULL-FAA] Dissertações Esta página foi gerada automaticamente em 2021-10-10T23:02:50Z com informação proveniente do Repositório http://repositorio.ulusiada.pt UNIVERSIDADE LUSÍADA DE LISBOA F ACULDADE DE A RQUITETURA E A RTES Mestrado Integrado em Arquitetura Desconstrutivismo: da origem à ação Realizado por: Miguel Ângelo Pintado de Brito Orientado por: Prof. Doutor Arqt. Fernando Manuel Domingues Hipólito Constituição do Júri: Presidente: Prof.
    [Show full text]
  • PRECEDENTS in CRITICAL PRACTICE 4.210 Fall 2017 SA+P MIT Instructor
    1 PRECEDENTS IN CRITICAL PRACTICE 4.210 Fall 2017 SA+P MIT Instructor: Ana Miljacki [email protected] TA: Nushelle de Silva [email protected] Wednesday 2-5pm, Room 10-401 COURSE DESCRIPTION The objective of this seminar is to produce a map of contemporary architectural practice and to develop tools for scrutinizing that map, through formal reading, an understanding of popular culture and politics, and by using our general grasp of the recent history of architectural thinking. The seminar will open by examining several collective attempts at theorizing the current situation in architectural discourse, published (relatively) recently in Hunch, Log, the last issue of Assemblage, and in the Harvard Design Magazine. Drawing out the most salient themes from these, the course is structured in terms of 6 coupled themes: City –> Global Economy, Urban Plan –> Map of Operations, Program –> Performance (Relations, Effects, Atmospheres), Drawing –> Scripting, Image –> Surface, Utopia –> Projection. These are examined in terms of the recent history of the coupled subjects – as topics that are in the process of definition, rather than as strictly demarcated themes. Although the course proposes that these paired topics are in a historical relationship of sorts, they are not seen here as entirely opposed to each other. Similarly, even though the partially genealogical relationship between the two topics would suggest that the second theme in each heading has more contemporary currency than its predecessor, it would be wrong to think that we will be discussing examples of absolute evolution, where one theme is also more advanced as a result of its novelty, or for that matter that it has completely replaced the theme that in some way anticipated and prefigured it.
    [Show full text]
  • Who Are You, François Roche? I Asked Them
    MV_QuiEtesVousFRocheEn_09/17_2.indd 2-3 9/17/16 10:32 PM New York City 8/06/2016 Foreword by MarieVic I was a desert that gave up monologuing. Numb, mouth dry and skin like a lizard. The noise outside was muf- fled. The others? I don’t know where they were. I didn’t really worry about it. Loneliness is Fun. A fragile, nice glimmer began to shine in my wakeful- ness and in my sleep. I wanted to get closer but sud- denly the sky went dark. The others also tried to grab it, without success. Extreme body failure. It was a will-o’-the-wisp. The ghost of the swamps wasn’t real. What a relief. It was comforting to think that everything is unique and lost forever. Instead of worrying, might as well distance yourself from it. The glimmer kept coming back, seductive. Its flicker- ing light seemed to burst into song, a sacrificial round whose charm was to spread confusion. Your dreams of war alarm you. I began to become obsessed with the will-o’-the-wisp. MV_QuiEtesVousFRocheEn_09/17_2.indd 4-5 9/17/16 10:32 PM The phenomenon was great and absurd. A misunder- Oh… all right. standing that revealed the indecipherability of the world in which we crystallized our desires, anger and – I am a living thing, hybrid and ambiguous, frustrations. It was our common illness, our symptom. multiple. A network of uncertain exchanges. Since I was blind, I asked the others what they saw. Who are you, François Roche? I asked them.
    [Show full text]