A READING of INTERPRETATIVE MODELS of MINIMALISM in ARCHITECTURE Vladimir STEVANOVIC*
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Le Corbusier Y El Salon D' Automne De París. Arquitectura Y
Le Corbusier y el Salon d’ Automne de París. Arquitectura y representación, 1908-1929 José Ramón Alonso Pereira “Arquitectura y representación” es un tema plural que abarca tanto la figuración como la manifestación, Salón d’ Automne imagen y escenografía de la arquitectura. Dentro de él, se analiza aquí cómo Le Corbusier plantea una interdependencia entre la arquitectura y su imagen que conlleva no sólo un nuevo sentido del espacio, sino Le Corbusier también nuevos medios de representarlo, sirviéndose de los más variados vehículos expresivos: de la acuarela Équipement de l’habitation al diorama, del plano a la maqueta, de los croquis a los esquemas científicos y, en general, de todos los medios posibles de expresión y representación para dar a conocer sus inquietudes y sus propuestas en un certamen Escala singular: el Salón de Otoño de París; cuna de las vanguardias. Espacio interior Le Corbusier concurrió al Salón d’ Automne con su arquitectura en múltiples ocasiones. A él llevó sus dibujos de Oriente y a él volvió en los años veinte a exhibir sus obras, recorriendo el camino del arte-paisaje a la arquitectura y, dentro de ella -en un orden inverso, anti-clásico-, de la gran escala o escala urbana a la escala edificatoria y a la pequeña escala de los espacios interiores y el amueblamiento. “Architecture and Representation” is a plural theme that includes both figuration as manifestation, image and Salon d’ Automne scenography of architecture. Within it, here it is analyzed how Le Corbusier proposes an interdependence between architecture and image that entails not only a new sense of space, but also new means of representing it, using Le Corbusier the most varied expressive vehicles: from watercolor to diorama, from plans to models, from sketches to scientific Équipement de l’habitation schemes and, in general, using all possible expression and representation means to make known their concerns and their proposals, all of them within a singular contest: the Paris’s Salon d’ Automne; cradle of art avant-gardes. -
Struktur Kurikulum (Curriculum Structure) 2018-2023
STRUKTUR KURIKULUM (CURRICULUM STRUCTURE) 2018-2023 DEPARTEMEN ARSITEKTUR (DEPARTMENT OF ARCHITECTURE) , FADP - ITS PROGRAM STUDI SARJANA (UNDERGRADUATE PROGRAM) SMT SKS ETIKA DAN PRAKTEK VIII TUGAS AKHIR 8 BERARSITEKTUR 2 10 144 Final Project Ethics and the Practice of Architecture DA184801 DA184802 ARSITEKTUR PERANCANGAN ASAS PERANCANGAN PROPOSAL TUGAS VII MK. PILIHAN III 3 KONTEMPORER 3 ARSITEKTUR 5 6 ARSITEKTUR 5 2 AKHIR 4 TECHNOPRENEUR 2 20 134 Elective III Contemporary Architecture Architectural Design 5 Architectural Design Principles 5 Final Project Proposal Technopreneurship DA184704 DA184701 DA184702 DA184703 UG184915 PERANCANGAN PERANCANGAN ASAS PERANCANGAN WAWASAN DAN VI BERKELANJUTAN 3 MK. PILIHAN II 3 SEJARAH ARSITEKTUR 3 ARSITEKTUR 4 6 ARSITEKTUR 4 2 MK. PENGAYAAN 3 APLIKASI TEKNOLOGI 3 20 114 Sustainable Design Elective II History of Architecture Architectural Design 4 Architectural Design Principles 4 Enrichment Course Concept of Technology DA184604* DA184603 DA184601 DA184602 UG184916 ARSITEKTUR PERANCANGAN ASAS PERANCANGAN ARSITEKTUR V MK. PILIHAN I 3 NUSANTARA 3 ARSITEKTUR 3 6 ARSITEKTUR 3 2 EKSPERIMENTAL 3 EKOLOGI ARSITEKTUR 3 20 94 Elective I Nusantara Architecture Architectural Design 3 Architectural Design Principles 3 Experimental Architecture Architectural Ecology DA184505 DA184501 DA184502 DA184503 DA184504 DASAR PERANCANGAN PERANCANGAN ASAS PERANCANGAN ARSITEKTUR IV KOTA 2 TEORI ARSITEKTUR 3 ARSITEKTUR 2 6 ARSITEKTUR 2 2 LANSEKAP 3 UTILITAS BANGUNAN 3 19 74 Introduction to Urban Design Architectural Theory -
Robert Venturi & Denise Scott Brown. Architecture As Signs and Systems
Architecture as Signs and Systems For a Mannerist TIme Robert Venturi & Denise Scott Brown THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS· CAMBRIDGE, MASSACHUSETTS· LONDON, ENGLAND· 2004 Art & Arch e'J' ,) re Library RV: Washington u:'li \/(H'si ty Campus Box 1·,):51 One Brookin18 Dr. st. Lg\li,s, !.:0 &:n:W-4S99 DSB: RV, DSB: Copyright e 2004 by Robert Venturi and Denise Scott Brown All rights reserved Printed in Italy Book Design by Peter Holm, Sterling Hill Productions Library of Congress Cataloging-in-Publication Data Venturi, Robert. Architecture as and systems: for a mannerist time I Robert Venturi and Denise Scott Brown. p. em. - (The William E. Massey, Sr. lectures in the history of American civilization) Includes bibliographical references and index. ISBN 0-674-01571-1 (alk. paper) 1. Symbolism in architecture. 2. Communication in architectural design. I. Scott Brown, Denise, 1931- II. Title. ill. Series. NA2500.V45 2004 nO'.I-dc22 200404{)313 ttext," for show his l them in lied "that le most of 'espitemy to be an me of our 19 studies, mth these Architecture as Sign rather than Space ecause if I New Mannerism rather than Old Expressionism 1geswon't ROBERT VENTURI ,the com :tronger ::ople who . work and lity to the _~.'n.•. ~~~,'~'"'.".'."_~ ____'_''''"'«'''.'''''',_",_.""",~",-,-" ".,-=--_""~ __ , ..... """'_.~~"',.._'''''_..._,,__ *' ...,',.,..,..... __ ,u~.,_~ ... mghai, China. 2003 -4 -and for Shanghai, the mul A New Mannerism, for Architecture as Sign . today, and tomorrow! This of LED media, juxtaposing nbolic, and graphic images at So here is complexity and contradiction as mannerism, or mannerism as ing. -
Roe-- • ' 7 Charles Edouard Jeanneret (Le Corbusier) (1887-1965) And
....... IIIA Neo-Classicism and the Call to Order 239 1entary Now night falls on everything. We have reached the second half of the parabola. fashion Hysteria and rog~ery are_ ~onde?1ned. I thi~k that by_ now we are all satiated with cessit1 ,merv whether 1t be pohucal, literary, or pamterly. With the sunset of hysteria more ., roe-- • ' sez bien than one painter will return to the craft, and those who have already done so can work all the with freer hands, and their work will be more adequately recognized and recompensed. re, who As for me, I am calm, and I decorate myself with three words that I wish to be the ve been seal of all my work: Pictor classicus sum. and the :e of all go and 7 Charles Edouard Jeanneret (Le Corbusier) (1887-1965) and stem of Amedee Ozenfant (1886--1966) 'Purism' 1othing n, ha1e The authors met in late 191 7, whereupon Jeanneret, trained as an architect and draughts eed not man, also took up painting. In November 1918 they jointly published After Cubism (Apres le 1 in the CtiJisme), developing the ideas broached in Ozenfant's 'Notes on Cubism' of 1916 (Ill Al). In .nage to 1920 they founded the review L'Esprit Nouveau to promote a return, within the avant-garde, were to to principles of classical order. 'Purism', a comprehensive statement of these principles, correct. was published in the fourth issue of 1920, pp. 369-86. The present extracts are taken from the first English translation in R. L. Herbert, Modern Artists on Art, New York, 1964, pp. -
University of Cincinnati
UNIVERSITY OF CINCINNATI DATE: May 15, 2003 I, James Gilbert Jenkins , hereby submit this as part of the requirements for the degree of: Master of Architecture in: The Department of Architecture of the College of DAAP It is entitled: New World Trade Approved by: Michael McInturf Arati Kanekar NEW WORLD TRADE A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE In the Department of Architecture Of the College of Design, Art, Architecture, and Planing 2003 by James G. Jenkins B.S., University of Cincinnati, 2001 Committee Chair : Michael Mcinturf Abstract In these Modern Times, “facts” and “proofs” seem necessary for achieving any credibility in a field where there is a client. To arrive at a “truth,” many architects quickly turn to a dictionary for the final “truth” of a word, such as “privacy” or to a road map to find the “truth” in site conditions, or to a census count for the “truth” of people migration. It is, of coarse, part of the Modern Crisis that many feel the need to go with the way of technology, for fear that Architecture might otherwise fall by the wayside because of its perceived irrelevancy or frivolousness. Following this action, with time, could very well reduce Architecture to a form of methodology and inevitably end with the replacement or removal of the profession from its importance- as creators of a “Truth.” The following thesis is a serious reclamation. The body of work moves to take back for Architecture its power, and specifically it holds up and praises the most important thing we have, but in modern times have been giving away: Life. -
Venturi and Scott Brown As Functionalists: Venustas and the Decorated Shed
Venturi and Scott Brown DENISE R. COSTANZO as Functionalists: Venustas and the Decorated Shed »Bob and I are dour functionalists. We see the Modern Movement’s belief 1 Scott Brown 2004: 142 in functionalism as one of its glories. While Postmodern and Neomodern architects have departed from early Modern doctrines on function, we have remained functionalists for both moral and aesthetic reasons.«1 This statement may be surprising, because its author, Denise Scott Brown, and her partner Robert Venturi are better known as critics of architectural functionalism than adherents. Among their most memorable critiques is a pair of equations in Venturi, Scott Brown and Steven Izenour’s 1972 book Lear- ning From Las Vegas (F1). One presents the Vitruvian triad as a sum: Firmness + Commodity + Delight, which, according to the accompanying text, equal ›architecture‹. This formula is contrasted with another attributed to Walter Gropius: Firmness + Commodity = Delight, their summary of the functionalist position.2 Together, these equations present functionalism as a departure from the discipline’s most venerable theoretical foundation. The authors further de- F1 Vitruvius and Gropius scribe the functionalist position as a belief »that structure plus program rather simply result in form; that beauty is 2 Or, using Venturi’s twentieth- a by-product; and that – to tamper with the equation another way – the century paraphrase of Wotton, process of making architecture becomes the image of architecture. It re- »Structure + Program = Expression« (Venturi 1984 [1978]: 64) lies upon a faith that process and image are never contradictory and that Delight is a result of the clarity and harmony of these simple relationships, untinged, of course, by the beauty of symbolism and ornament or by the 3 Venturi / Scott Brown / Izenour associations of preconceived form.«3 1977: 134. -
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Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p. -
The Literary Landscape of Murakami Haruki
Akins, Midori Tanaka (2012) Time and space reconsidered: the literary landscape of Murakami Haruki. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/15631 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Time and Space Reconsidered: The Literary Landscape of Murakami Haruki Midori Tanaka Atkins Thesis submitted for the degree of PhD in Japanese Literature 2012 Department of Languages & Cultures School of Oriental and African Studies University of London Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
„Lef“ and the Left Front of the Arts
Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................ -
Art History Timeline
Art History Timeline Art Periods/ Dates Chief Artists and Major Works Characteristics Historical Events Movements Mesopotamia - Sumerian (2700 BCE) Sumerian Votive Offerings, Standard of Warrior art and narration Sumerians invent writing (3400 Ancient Near Ur, Ziggurat of Ur, Bull Lyre in stone relief BCE) Hammurabi writes his law East (3500 BCE Akkadian (2200 BCE) Head of Akkadian Rule, Stele of Naram- code (1780 BCE); – 636 BCE) Sin Chapter 2 Neo-Sumerian (2050 Gudea of Lagash, Stele of Hammurabi BCE) and Babylonian (2000 BCE) Assyrian (720) and Neo- Lamassu Guard , Gate of Ishtar Babylonian (600 BCE) Egyptian (3500 Dynastic Period (3000 Palette of Namer, Khafre, Step Art with an afterlife Narmer unites Upper/Lower BCE – 30 BCE) BCE) and Old Kingdom Pyramid(Imhotep), Great Pyramids of focus: pyramids and Egypt (3100 BCE); Rameses II Chapter 3 (2000 BCE) Giza tomb painting, battles the Hittites (1274 BCE); Middle Kingdom Tombs carved into mountains Cleopatra dies (30 BCE) New Kingdom (1500 Mortuary Temple of Queen Hatshepsut, BCE) and Abu Simbel (Ramses II) Akhenaton and Armana Period (1350 his family, Bust of Nefertiti BCE) Ancient Greece Cycladic (Cyclades Cycladic figurines (Geometric women Minoan – Ocean themes height of the Bronze Age (3000 BCE – Islands) (2500 BCE) with folder arms, Seated Harp Player) 1200 BCE) Minoan (Crete) (1500 Palace of Knossos, Leaping Bull fresco, Chapter 4 BCE) Snake Goddess, Octopus Vase, Harvesters Vase Mycenaean (mainland Funerary mask, Lions Gate, Treasury of Greece) (1200 BCE) Atreus Greek and Geometric -
Purist Theory and Villa Savoye
EVDA 621: Intro To Design Theories PURIST THEORY AND VILLA SAVOYE An Investigation into How the Painting of Le Corbusier and His Purist Art Theory Relate to and Inform the Design of Villa Savoye in Plan BY SHEA GIBSON // Remember that a noble logical diagram, once recorded, will never die; long after we are gone, it will be a living thing, asserting itself with ever growing insistency // // Willis Polk // // I prefer drawing to talking. Drawing is faster, and leaves less room for lies // // Le Corbusier // // Concern for man and his fate must always form the chief interest of all technical endeavors. Never forget this in the midst of your diagrams and equations // // Albert Einstein // PRECEDENT DRAWINGS ~ SITE ANALYSIS DRAWINGS ~ SITE MAPPING IMMATERIAL FLOWS ~ FRAGMENTS MOD ELS & AXONS ~ TECTONICS DRAWINGS ~ MEASURED DRAWINGS ~ DIGITAL TECTONICS GENERATIVE ~ DIGITAL TECTONICS FABRICATION ~ SHOP ASSIGNMENTS ~ PRECEDENT ANALYSIS & INTERPRETATION ~ CONTEXTS ~ THE PROGRAMME ~ THE DESIGN OF A HOUSE ~ PRECEDENT DRAWINGS ~ SITE ANALYSIS DRAWINGS ~ SITE MAPPING IMMATERIAL FLOWS ~ FRAGMENTS MODELS & AXONS ~ TECTONICS DRAWINGS ~ MEASURED DRAWINGS ~ DIGITAL TECTONICS GENERATIVE ~ DIGITAL TECTONICSCONTENT FABRICATION ~ SHOP ASSIGNMENTS ~ PRECEDENT ANALYSIS & INTERPRETATION ~ CONTEXTS ~ THE PROGRAMME ~ THE DESIGN OF A HOUSE ~ PRECEDENT DRAWINGS ~ SITE INVESTIGATION DESCRIPTION & ANALYSIS DRAWINGS ~ SITE MAPPINGRESEARCH IMMATERIAL FLOWS ~ FRAGMENTS MODELS 5 & AXONS ~ TECTONICS DRAW INGS ~ MEASURED DRAWINGS ~ DIGITAL TECTONICS GENERATIVE ~ DIGITAL -
Interview with Thomas Mcevilley at Moore College of Art And
Interview with Thomas McEvilley at Moore College of Art and Design, Philadelphia, on the occasion of the exhibition “ Jo Baer: Recent Works , ” Ma rch 3 – April 1, 1993 . Exerpted interview (pp . 140 - 142, “Broadsides and Belles Lettres,” Jo Baer. 2010). In the late ‘60s and early ‘70s, the Minimalist, abstract paintings of Jo Baer were among the most hypnotic. They were one of the last convincing expressions of the abstract sublime and the Minimalist mode. The blank white triptychs with striping around the edges and on the support suggested the dissolution of all finite t hings into the infinite, the return of the multicolored light of earthly experience, as through a prism, into the white light of the beyond. The new paintings, like the metaphysical Minimalism of the earlier ones, still seem to posit the picture surface as a kind of cosmic, creative membrane, but now the direction is reversed: the figures that were once submerged into the blank white ground of the sublime are now tentatively re - emerging from it as if on the first morning of a new age dawning after the final dissolution of the last. Echoes of Abstract Expressionism are still present, but now they partake more of the birth - and - protoplasm imagery of Arshile Gorky than of Barnett Newman’s palpable void. Pale images of buttocks - displaying goddesses from paleo lithic cave walls, vegetation motifs from Etruscan tombs, and horses bursting with life from classical Greek friezes slide into one another in close - hued embraces and knit together into a tightly strung surface. These paintings, with their spare and tentat ive color occasionally clarifying a part of an outline, are still primarily near - white.