IMAGING THE SPACE OMID KHEIRABA- DI THESIS INDEX

Master of Arts in Interior 4 Introduction Architecture 6 Appropriation of the reality Maastricht Academy of 16 Subjective matter Architecture Faculty of Arts 29 Interior drama Zuyd University of Applied 39 Conclusion Sciences 41 References Referent: Drs. Marion Zwarts 44 List of figures 46 Bibliography

2018-2019 INTRO- DUCTION

figure 1 INTRODUCTION IMAGING THE SPACE

Loos belonged to the generation of Last year on my birthday, I architects before the second world war received a gift that changed my idea and Le Corbusier, although started his of writing the master’s thesis. It was career earlier, to the after-war generation John Berger’s book “Understanding a who were influenced by Loos. After Photograph”. I was familiar with Berger’s visiting Villa Muller, by Loos, in Prague, work from his BBC series, “Ways I realized why he was always against of Seeing”, where he flirts with the images of architecture and proudly boundaries of what an art piece or what said his spaces are ineffective in two a commodity and object are. His writings dimensions. Adversely, after visiting Le on images and photography are not Corbusier’s Villa Savoye, I was almost actually only about seeing but also about shocked because of what I had seen how the world and is being seen and before from the images of Villa Savoye perceived by us in different manners. and what I experienced by actually being While reading the “Understanding a in the space. Photograph” about various ways that a photograph can be interpreted, I thought Loos in his essay “The Principle of that architectural spaces can be highly Cladding” (1898) writes: “There are influenced by photography and the way architects who work in a different they are photographed. Or better to say way. Their imagination doesn’t form that the representation of architectural spaces, but mass. Whatever the mass spaces can be deceiving for the viewers of wall leaves over, are the spaces”. and can actually work as “Propaganda” This fragment makes a fundamental for the innocent architects behind their difference which is the main subject of desks! What are we are faced with when this comparison between Loos and Le we are presented by representations Corbusier. This difference is closely of architectural spaces? How can we concerned with the way in which space be sure next time when we are looking is experienced. On the one hand, at some colorful Instagram posts from spaces in which the entire body can famous architectural firms that we are not dwell - all the senses being involved; being directed to see some qualities that on the other hand, spaces where there actually don’t exist? is perhaps only room for the roaming eye. Spaces for use as opposed to 1 This phenomenon doesn’t begin with spaces for looking at . But this doesn’t Instagram as some might imagine but mean that Loos himslef didn’t use goes back to the history of architecture. images of spaces for his own purposes. As long as there have been architects and architectural drawings, people were Firstly, I’d talk about appropriation of being faced by the representation of reality through images and films, then spaces, but not the real space until the in the second and third chapters, I will buildings were built and commissioned look at how Le Corbusier and Loos were paid. The qualities of spaces cannot used images in the presentations of their be judged only from the drawings. Two work. In the end, I want to see whether great opposing examples of this can architecture today is really suffering from be seen in the different architectural some sort of widespread diseases or style of Adolf Loos and Le Corbusier’s. not. A visual disease.

5 figure 2 APPRO- PRIATION OF THE REALITY

figure 1 APPROPRIATION OF REALITY IMAGING THE SPACE

figure 2 figure 3 capture something first hand and special importance, interest, beauty. (“That has involved himself in the action which The limitations of images for for the first time in his career. In this would make a good picture.”) Cameras is going on in front of the camera, that is making the reality as it actually is quite footage (figure 1) he is trying to encourage implement an industrial view of reality by why this scene is really important. The obvious , but here I wanted to have an the man in white to fight with the guy in gathering information that enables us to cinematographer is actively trying to example in which these constraints are black. It seems that nothing matters to make a more accurate and much quicker change what is happening in front of his more visible, “The Cameraman” (1928), him except what he is going to shoot, response to whatever is going on. The camera, an active effort to change the a silent movie by Buster Keaton (the there is no question of morality or response may, of course, be either reality. He is filming for the news agency movie was directed by Edward Sedgwick humanity; a film should be made whether repressive or benevolent: military and for the sake of a report to people and Keaton himself which is uncredited). some people hurt or even destroy each reconnaissance photographs help snuff who weren’t there themselves, but in this Buster in this movie is a clumsy other. And as soon as they start fighting, out lives, X-rays help save them.”1 And case, the reality is being appropriated. cameraman who is working for an MGM Keaton without showing any emotion in here interestingly, Keaton tries to have a He is filming his own version of the reality news agency and now is in love with a his expressions begins to film them as picture of a probable murder, although that he himself appropriated. girl who works there as a secretary. He’s nothing happened a few seconds ago. we know that this is a comedy and trying to get closer to her by finding a job (figure 2). Not expressing any emotion, of nothing serious is going to happen in the Here is important to note the intrinsic there. But all his attempts to take valuable course, is one of Buster Keaton great end. differences between photography and footage in order to prove himself to the abilities, but here is more sarcastic which cinematography. The most noticeable producers of MGM have been disastrous can be read as the gap between reality After a few seconds of shooting, he difference is that every second of a film and unsuccessful. Finally, with the help as it is and as it is pictured. (figure 3) realizes that this fight is going nowhere consists of at least 16 frames per second of the girl who tells him about a fight which can be read as the gap between because it is getting settled. Therefore It (up to 48 fps), which they are all non- before anybody else knows, he finds a reality as it is and as it is pictured (figure is not worth being shot anymore when identical images being reeled after one chance to go there as the first 5). there is nothing interesting happening in another creating the magical effect of the correspondent and take a really precious front of the camera. That is when he moving pictures. But that is basically footage of that fight. Susan Sontag in her book “On decides to participate again in the action, what makes these two mediums so look Photography” writes: “Cameras but this time he has to make a major alike. Phillip Prodger2 in his article, In this scene from the film, he is being implement an aesthetic view of reality by impact in order to get a better result or a Photography and Cinema: A Tale of Two sent to Chinatown to film the brawl being a machine-toy that extends to “better fight”. He finds a knife on the Closer-Than-You-Think Siblings, writes: between two Chinese gangs. And we everyone the possibility of making ground and gives it to one of the fighters “The basic idea is simple. The camera know that it is really crucial for him to disinterested judgments about (figure 4). Keaton as a cinematographer freezes time, and the projector starts it

7 APPROPRIATION OF REALITY IMAGING THE SPACE

Phillip Prodger

“The basic idea is simple. The camera freezes time, and the projector starts it up again”

figure 4 8 APPROPRIATION OF REALITY IMAGING THE SPACE

figure 5 figure 6 up again.” He also mentions the creation frame, first appeared in the religious aiming to talk about what is being seen reinforces a nominalist view of social of moving pictures by Eadweard paintings depicting the life story of Jesus, as images through the eyes (and the reality as consisting of small units of an Muybridge, the great motion picture where he is crucified and in the same reality which is being created) and not apparently infinite number - as the pioneer: “He began by making painting/frame he is descending to the talking over the differences of these two number of photographs that could be sequences of instantaneous sky. Douchamp was just following the mediums. taken of anything is unlimited. Through photographs of a horse’s gallop in the western traditions of painting, in a more photographs, the world becomes a 1870s—at that time a subject of abstract and somewhat radical way. Back to the subject of images, John series of unrelated, freestanding widespread scientific interest—creating Berger implies that: “An image is a sight particles; and history, past, and present, photographic grids recording phases of Adversely, in a film, we are faced by a which has been recreated or reproduced, a set of anecdotes and fait divers (short the animal’s gait. . . His next conceptual continuity, a momentum that goes on, it is an appearance, or a set of news stories). The camera makes reality advance was to develop a device to contrary to a photograph that makes the appearances, which has been detached atomic, manageable, and opaque. It is a reanimate his pictures in short loops, time stands still at the very moment when from the place and time in which it first view of the world which denies called the Zoöpraxiscope, now the photograph is taken. John Berger in made its appearance and preserved - for interconnectedness, continuity, but considered an important forerunner of his book, Understanding a Photograph, a few moments or a few centuries. Every which confers on each moment the cinema.”3 writes: “Photographs are retrospective image embodies a way of seeing.”6 character of mystery. Any photograph and are received as such: films are When we see, we are dealing with these has multiple meanings; indeed, to see Muybridge work might have influenced anticipatory. Before a photograph, you sights and appearances that we do not something in the form of a photograph is Marcel Duchamp for his so called search for what was there. In the cinema, possess. And if we are not able to touch to encounter a potential object of revolutionary painting, “Nude Descending you wait for what is to come next. All film them they remain like images to us. It is fascination. The ultimate wisdom of the a Staircase” in 1912. “He shocked the narratives are, in this sense, adventures: like looking at a landscape far away from photographic image is to say: “There is art world with his painting not by nudity- they advance, they arrive. The term one is standing. What makes them the surface. Now think - or rather feel, -the painting was too abstract to show flashback is an admission of the separated is ways of seeing. The ways of intuit - what is beyond it, what the reality any, but because he depicted the inexorable impatience of the film to move seeing the photographer who chooses must be like if it looks this way.’ descent in a series of steps taking place forward.”5 Although photographs seem the frame and the angle, the speed of Photographs, which cannot themselves all at the same time. In a way, he had to be the opposite of films in that sense, the shutter, the depth of the field and explain anything, are inexhaustible invented the freeze frame.”4 Not to forget on this topic, which is going over the decides what to include and what to invitations to deduction, speculation, and that these traditions of storytelling in creation of reality through the lens of a exclude. Susan Sontag has mentioned fantasy.”7 That is what happens by different frames and sometimes in one camera, by referring to photographs I am the discontinuity of images: “Photography Keaton’s camera work when his audience

9 APPROPRIATION OF REALITY IMAGING THE SPACE

figure 7 10 APPROPRIATION OF REALITY IMAGING THE SPACE

wouldn’t see the reality as it was, but a writes about the fundamental problem of highly appropriated selection of moments facing an image: “According to an through his camera lens (figure 6) which ancient etymology, the word image can be understood in other ways. The should be linked to the root imitari. Thus fighters probably wouldn’t get involved in we find ourselves immediately at the that fight in that level of violence if it heart of the most important problem wasn’t for him. That scene is just an facing the semiology of images: can exaggerated moment of when a person analogical representation (the “copy”) behind the camera decides to deceive produce true systems of signs and not the audience, in order to hide and reveal merely simple agglutinations of but for his/her own will. Albert Camus symbols?”10 Both talk about the lack of doesn’t believe that any sort of genuity in images trying to make the real, photographs can be the same as the real. reality they are presenting: “Even the very best photographs betray reality - they As discussed above, the reality through result from an act of selection and the camera lens would be different than impose a limit on something that has what it is. Walter Benjamin in his influential none.”8 This can be linked to Roland 1936 essay The Work of Art in the Age of Barthes9 fundamental problems of facing Mechanical Reproduction argued that an image: “According to an ancient “even the most perfect reproduction of a etymology, the word image should be work of art is lacking in one element: Its linked to the root imitari. Thus we find presence in time and space, its unique ourselves immediately at the heart of the existence at the place where it happens most important problem facing the to be.” He referred to this unique cultural semiology of images: can analogical context as its presence in time and representation (the “copy”) produce true space’ as it’s ‘aura’.11 He explains in systems of signs and not merely simple another article, A short history of agglutinations of symbols?” Both talk photography: “What is aura?”: a peculiar about the lack of genuity in images trying web of space and time: the unique to make the real, real. manifestation of a distance, however near it may be. To follow, while reclining The fighters probably wouldn’t get on a summer’s noon, the outline of a involved in that fight in that level of mountain range on the horizon or a violence if it wasn’t for him. That scene is branch, which casts its shadow on the just an exaggerated moment of when a observer until the moment or the hour person behind the camera decides to partakes of their presence - this is to deceive the audience, in order to hide breathe in the aura of these mountains, and reveal but for his/her own will. of this branch. . . . The situation is Although Albert Camus doesn’t believe complicated by the fact that less than at that any sort of photographs can be the any time does a simple reproduction of same as the reality they are presenting: reality tells us anything about reality.”12 “Even the very best photographs betray “Aura” quite obviously is not the object reality - they result from an act of selection itself, but an individualized atmosphere and impose a limit on something that has that envelopes the authentic object, a none.”8 Moreover, Roland Barthes9 subtle but distinct sensation received in figure 8 11 APPROPRIATION OF REALITY IMAGING THE SPACE

Ronald Barthes “According to an an- cient etymology, the word image should be linked to the root imitari.”

figure 9 12 APPROPRIATION OF REALITY IMAGING THE SPACE the presence of the original. An image, from objects, I creep under them. I move even if photographic, might provoke alongside a running horse’s mouth, I fall such a sensation; but this would be the and rise with the falling and rising bodies. aura of the image, not that of the object This is I, the machine, maneuvering in the represented.13 chaotic movements, recording one movement after another in the most Walter Benjamin claims that the very complex combinations. Freed from the invention of photography transformed boundaries of time and space, I not only the architecture but the “entire coordinate any and all points of the nature of art.” In “The Work of Art in the universe, wherever I want them to be. My Age of Mechanical Reproduction,”he way leads towards the creation of a fresh notes that the lens sees that which the perception of the world. Thus I explain in unaided eye cannot and makes obvious a new way the world unknown to you.”16 certain aspects of the original that would In his revolutionary movie, “Man With a otherwise be unknowable; in addition, Movie Camera” (1929) he changed how photography puts “a copy of the original the movies and moving pictures can be into situations which would be out of seen. “By filming in three cities and not reach for the original itself” and thereby naming any of them, Vertov had a wider undermines the original’s “presence in focus: His film was about The City, and time and space, its unique existence at The Cinema, and The Man With a Movie the place where it happens to be.” Both Camera. It was about the act of seeing, processes, Benjamin claims, interfere being seen, preparing to see, processing with the authenticity of the object and what had been seen, and finally seeing it. figure 10 severely depreciate its “authority.” This It made explicit and poetic the astonishing authority he calls the “aura” of the object, gift the cinema made possible, of really noticing what is happening around But it should be noted that photography and in a now-famous, a line he insists arranging what we see, ordering it, them. All the senses are being neglected was succeeding oil paintings and in that “that which withers in the age of imposing a rhythm and language on it, sense has already made huge 17 to give way to what can be seen and mechanical reproduction is the aura of and transcending it”. The camera can captured. Space loses its three- differences. From accurate real-life the work of art.”14 show us whatever it wants to show. The dimensional aspects and is limited to paintings, now people could see person behind the camera can show what can be seen on a flat screen which photographs which exactly were copying Nowadays, more than ever, people are what s/he wants to picture, and that is in the end makes the reality being the image of the real for them. Although encountering with images in different the representation of reality which we are that sounds too mechanical and soulless, 18 appropriated and castrated. It is ways, from TV to social media such as faced. Garry Winogrand , the famous John Berger in his book, Ways of Seeing, Instagram or Facebook, from books to American photographer has a quote interesting to not that at the early ages of the invention of photography, this was makes it clear that the importance of the newspapers and magazines. Life is saying: “A photograph is an illusion of a decisions made by the photographers welcomed by the elites and was regarded being experienced as other people literal description of how the camera saw are not the last stage of perception 19 as a reliable way of seeing. “Zola, experience it, or better how they see it. a piece of time and space” process of an image, it is also the declared in 1901 after fifteen years of The revolutionary Soviet filmmaker, Dziga decisions that have been made by the 15 Vertov , about this reality being created The perception of the world/reality is amateur picture-taking, “you cannot viewers: “For photographs are not a by a camera writes: “I’m an eye. A being altered for people who are living in claim to have really seen something until mechanical record. Every time we look at mechanical eye. I, the machine, show societies highly engaged in the use of you have photographed it.” Instead of a photograph, we are aware of the you a world the way only I can see it. I the Internet and social media. The effect just recording reality, photographs have photographer selecting that sight from an free myself for today and forever from of images is so important that most become the norm for the way things infinity of other possible sights. . . The human immobility. I’m in constant people, visiting a new place, spend the appear to us, thereby changing the very photographer’s way of seeing is reflected movement. I approach and pull away whole time taking photos and videos, not idea of reality, and of realism.”20 in his choice of subject. The painter’s

13 APPROPRIATION OF REALITY IMAGING THE SPACE

Dziga Vertov I’m an eye. A me- chanical eye. I, the machine, show you a world the way only I can see it.

figure 11 14 APPROPRIATION OF REALITY IMAGING THE SPACE

way of seeing is reconstituted by the marks he makes on the canvas or paper. Yet, although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.”21 Which can leave us some hope that not every image or spectacle can make all of us confused about what is being seen.

Sontag, took it even further when she implied that we experience the life as if we are ourselves in a movie: “It is common now for people to insist about their experience of a violent event in which they were caught up—a plane crash, a shoot-out, a terrorist bombing— that “it seemed like a movie.” This is said, other descriptions seeming insufficient, in order to explain how real it was.”22 That reality can be defined as in the images and representations of similar situations. This is not really far from the imagination considering how we are being who raised and fed from early stages of life by images, movies and TV.

In conclusion, it can be said that the images have the magical power and influence on our perception of the real world to the degree that can replace all other senses of a human being for grasping the qualities of the space. The spectacle can limit the understanding of any space for us to two-dimensional Garry Winogrand space of a screen, either a movie theater or an Ipad or even an outdated page of a “A photograph is an newspaper. The Cameraman serves as an exaggerated example of how that illusion of a literal de- reality can be manipulated by someone behind the camera and how the world scription of how the can be defined through the mechanical eye of a camera. In the following camera saw a piece chapters, these phenomena will be more of time and space” talked about in the architectural world. figure 12 15 SUBJECTIVE MATTER IMAGING THE SPACE

“Le Corbusier thought of architecture in ide- alistic and metaphor- ic terms: architecture not as a building, but as representation. For him, a building was always like something else.”

SUBJECTIVE MATTER

16 figure 1 SUBJECTIVE MATTER IMAGING THE SPACE

figure 2 figure 3

as representation. For Le Corbusier, a that when this same built architecture for them”.5 In In this chapter, as an attempt building was always like something else.” piece enters the two-dimensional space to see how the appropriation of reality Architecture as ‘representation’ shows of the printed page it returns to the realm Le Corbusier manifests an architecture was shaped Le Corbusier’s ideas how he’s already thinking of architecture of ideas. The function of photography is of photography as early as 1923 in about architecture some aspects of his as a subjective and not obsolete form of not to reflect architecture as it happens his Vers une architecture, a book that architecture in relation to photography, objectivity. to be built. Construction is a significant he claims avoids “flowery language, images, and the act of seeing are moment in the process, but by no means ineffectual descriptions,” relying instead studied. Daniel Naegele1, in his essay, Stanislaus von Moos3 claims that for its end product. Photography and layout on “facts exploding under the eyes Savoye Space, describes how Le Le Corbusier the relationship of the construct another architecture in the of the reader by force of images.”6 Le Corbusier early education in the neo- architectural work to a specific site and space of the page.”4 Le Corbusier’s Corbusier was cofounder, with Amédée medieval beliefs and in the organic its material realization are secondary buildings get alive once again when they Ozenfant, of Purism. Purism, like much similes of art nouveau was influential on questions: “that for him architecture is are being photographed when they are avant-garde art movements at the time, how he imagined architecture as a form a conceptual matter to be resolved in being represented. Photography for him was a self-referential art that constantly without having a body. “He thought of the purity of the realm of ideas, when has such great importance although called attention to the act of seeing. In architecture in idealistic and metaphoric architecture is built it gets mixed with the once in praise of drawing and seeing the Purist painting, the physiological terms: architecture not as a building, but world of phenomena and necessarily he said: “A camera is a tool for idlers, effects of color and line combined with loses its purity. And yet it is significant who use a machine to do their seeing a highly ambiguous field to transmit a 17 SUBJECTIVE MATTER IMAGING THE SPACE

“Purism, like much avant-garde paint- ing at the time, was a self-referential art that constantly called at- tention to the act of seeing.”

figure 4 18 SUBJECTIVE MATTER IMAGING THE SPACE

“resonance” that had a very calculated windows of Villa Savoye is panoramic, emotional impact. Such perception you cannot open them and look out was received somatically, the resonant for a full view.”10 They have eliminated space of the painting expanding into the classical painting composition of real space to “touch” the viewer. In this the foreground, middle ground, and sense “resonance,” what Le Corbusier background because of their linear and described as a “sounding board that ribbon forms. So in that sense, it is true vibrates within us,” was a palpable, that he is giving us more images and quasi-scientific parallel to the aura.7 So views but they really lack that quality of a painting or an image which belongs to the full view images. the two dimensions world can, in Purists ideas, transfer a sensation, a feeling, and The views in Villa Savoye cannot be fully resonance. Le Corbusier from this point understood spatially because of the tries to create that aura, or resonance narrowness of the windows, they are in his works, through views and images more like frames rather than windows. that he creates in his buildings, literally Benjamin description of a movie viewer is 8 or physically. In Villa Savoye , the visitor what actually happens in Le Corbusier’s is constantly on the move, and that interiors “no sooner has his eye grasped starts from the moment one gets to the a scene than it is already changed, they entrance of the villa. The ramp invites inhabit a space that is neither inside nor one to move and in each turn, the gaze outside, public nor private.” It is a space is busy with finding some new views to that is not made of walls but of images. the surroundings. (figure 1) Images as walls. Or as Le Corbusier puts it, “walls of light”. That is, the walls that It is important to notice that his early define the space are no longer solid walls buildings were built in the early 20th punctuated by small windows but have century and modernity was at early been dematerialized, thinned down with stages. Comparing contemporary new building technologies and replaced modern city dwellers to people who by extended windows, lines of glass lived in pre-industrialization era, Beatriz whose views now define the space. The 9 Colomina describes how one can walls that are not transparent now float experience the modern architecture in the space of the house rather than differently: “The point of view of modern produce it. architecture is never fixed, as in baroque architecture, or as in the model of vision Similarly in other projects various usage of the camera obscura-which is fixed at of “window as an image” has been used one point- but always in motion, as in by him: “Le Corbusier said about the film or in the city. Crowds, shoppers in a entrance hall of the La Roche house, that department store, railroad travelers, and the most important element of the hall is the inhabitants of Le Corbusier’s houses the big window and that for that reason have in common with movie viewers that he had prolonged the upper edge of they cannot fix (arrest) the image. The 19 figure 5 SUBJECTIVE MATTER IMAGING THE SPACE

figure 6 figure 7 the window to match the parapet of the distance from reality, the cameraman painter and the cameraman concludes qualities that became increasingly library. The window is no longer a hole in penetrates deeply into its web. There is that Le Corbusier’s architecture is the important to an architecture that revealed the wall. “the walls give the impression a tremendous difference between the result of his positioning himself behind in the truths of structure and material. of being made out of paper,” the big pictures they obtain. That of the painter the camera.13 It can be understood that Thus, if initially, photography permitted window is a paper wall with a picture is a total one, that of the cameraman he designs as he is in his mind capturing modern architecture to appear to fulfill on it, a picture wall, a (movie) screen.”11 consists of multiple fragments which are images. His buildings then might create its own theoretical precepts, eventually (figure 2) assembled under a new law. Thus, for more ‘resonance’ on paper and two- it obstructed it from becoming what contemporary man, the representation dimensional space than in reality and it truly wanted to be. Architecture, In “The work of Art in the Age of of reality by the film is incomparably three-dimensional spaces. seemingly of unquestionable objectivity, Mechanical Reproduction” Benjamin more significant than that of the painter, was known through photography, and remarks that: “In contrast to the since it offers, precisely because if the Benjamin concluded that: “the work photography construed architecture magician… the surgeon… abstains from thoroughgoing permeation of reality with of art reproduced becomes the work as an image. By “reproducing” unique facing the patient man to man, rather, it is mechanical equipment, an aspect of of art designed for reproducibility.” If at objects, photography extracts the aura, through the operation that he penetrates reality which is free of all equipment. And first photography’s perception seemed leaving these objects the equivalent of into him. Magician and surgeon compare that is what one is entitled to ask from to align with Modern movement beliefs, all others. Because the new perception to the painter and cameraman. The a work of art.”12 Beatriz Colomina using ultimately its effect proved corrosive has a “sense of the universal equality of painter maintains in his work a natural Walter Benjamin’s distinction between the to a sense of origin and authenticity, things”. Eventually, however, the image 20 SUBJECTIVE MATTER IMAGING THE SPACE

figure 8 of architecture bred an architecture of destiny, it is the provider of light… From image.14 this emerges the true definition of the house: stages of floors… all around them, According to Colomina, the most walls of light. Walls of light! Henceforth primordial activity in the house for Le the idea of the window will be, modified. Corbusier is seeing. The house for Le Till now the function of the window was Corbusier is nothing than a device to to provide light and air and to be looked see the world, a mechanism of viewing. through. Of these classified functions Le Corbusier’s basic definition of the I should retain one only, that of being primordial idea of the house “the house looked through… To see out of doors, to is a shelter, an enclosed space, which lean out.”15 The modern transformation affords protection against cold, heat and of the house produces a space defined outside observation.” Shelter, separation by walls of (moving) images. This is the from the outside, is provided by the space of the media, of publicity. To be window’s ability to turn the threatening ‘inside’ this space is only to see. To be world outside the house into a reassuring “outside” is to be in the image, to be picture. The inhabitant is enveloped, seen, whether in the press photograph, wrapped, protected by pictures. He a magazine, a movie, on television or at writes about the windows in his book, your window.16 Twentieth Century Building and Twentieth Century Living: “Window fulfills its true If at the Villa Savoye, the intercourse

21 figure 9 SUBJECTIVE MATTER IMAGING THE SPACE “Le Corbusier and the surrealists alike wanted to shockingly surprise man’s perception of the world through the deliberate reversal of the expected”

figure 10 22 SUBJECTIVE MATTER IMAGING THE SPACE

figure 12

between real and represented is Corbusier’s client who didn’t like that incidental, in Le Corbusier’s exhibition idea in his building, forced the architect pavilions, representation is enlarged to to cover it with a mural. Le Corbusier, the scale of architecture itself; indeed, uncomfortable with traditional arts, it becomes architecture. In the Pavillon employed “the new means” to create des Temps Nouveaux tent, Le Corbusier a photomural consisting of forty-four created an interior structure in which the photographs and extending the full walls were literally words and images. length and height of the wall. Its images (figure 3-4) “To enter this labyrinth was were of geometric, man-made objects to walk within the pages of a book. combined with abstract microscopic and When the pavilion was photographically aerial views of nature, “new vision” views documented in his ‘Des Canons, des unavailable to the unaided eye. munitions’, the images of scripted walls served as actual pages in the book, thus In a lecture in Prague two years later, André returning the word to the printed page.” Breton heartily praised the photomural as 17 an example of “concrete irrationality.” He In the Pavillon Suisse in Paris which is enthusiastically described it as “irrationally a dormitory, there is a curved rubble wavy,” compared it favorably to the work wall that dominantes the lobby and the of Gaudí, and declared it an indication library space. According to Naegele, that architecture was again attempting near the completion of the building Le “to break through all the limits.” The figure 11 23 SUBJECTIVE MATTER IMAGING THE SPACE

curved wall was hardly an irrational wave, to flirt with boundaries of what reality is and nor had Le Corbusier intended for the what images are. In that sense, his work mural to invoke the irrational. Yet Breton’s can be seen as surrealism. Alexander assessment was insightful. The mural Gorlin20 contends that Le Corbusier and was a representational overlay. Alongside the surrealists alike jolt (shake roughly) the rational order of architecture, it placed man’s perception of the world through an irrational order, creating a dialectic the deliberate reversal of the expected, condition with both psychological and and the juxtaposition of the banal with spatial implications. The illusory space the extraordinary. For surrealists, the of representation interrogated the “real” goal was the transcendence of everyday space of architecture. The photomural reality. For Le Corbusier, it was ostensibly dematerialized architecture. And for (apparently) the promulgation of his Le Corbusier, it made manifest in social program, itself an “extraordinary” imposition and transformation of the figure 13 architecture a contradictory space similar to that presented in his ambiguous existing societal and architectural order photography.”18 (figure 7) of the day.21

Le Corbusier enlarged photography and Le Corbusier’s photographs of his made it into architecture, and brought its architecture are highly intentional; space—the space of representation— not passive recordings, but an active into dialogue with the space of reality. commentary on his work. In the interior The resulting dialectic condition, though photographs there is meaning in whether architectural, mirrored the condition of a room is empty or not, what furniture is photography itself. The photograph is inside and where it is placed, and the size an “objective image,” both reality and and the position of the human figures. Like representation. Its essence is an illusion, the plan and elevations, the photographs and it was Le Corbusier’s inclination to are an integral part of the presentation recognize illusion as truth and to elevate of Le Corbusier’s architecture. In a way, this truth to an ideal. Illusion can be felt; it the photographs are as important as the can be sensed as the distance between buildings they represent. In the work of appearance and reality, between what the 1920s human beings are noticeably is perceived and what is known. Its absent; only the forms intimately related corporeal equivalent is a spirit. Its to their physical form and scale, i.e., architectural parallel is space, space that chairs, tables, cups, are retained as asserts itself as a distinct and psychically evidence of their presence. In interior invigorating atmosphere. This space is photography of La Roche house in Paris, in a stark white room, two empty like the aura of an image. To offer it as an chairs sit in conversation with each other, environment was, for Le Corbusier, the as in De Chirico’s Furniture in a Valley.22 premise of a new architecture.19 (figure 8-9) In the Pavillon Suisse Le Corbusier started

figure 14 24 Le Corbusier, once stated, “the exterior garden’, walls are constructed to frame is always an interior”, Gorlin pointing out the landscape, and a view from there to about that writes: “ in that the natural the interior.24 elements of sky, earth, and horizon were to be treated mythologically as The photograph, if only momentarily, the elements of a vast outdoor room, is about space and form, not an extension of the single room shelter. representational content; and the reader Human Condition III is Rene Magritte’s who recognizes this must also recognize clearest exposition of the theme of the illusion of all images. The photograph ambiguous interior-exterior space where is instructive. It teaches the “reader” to a painting of a landscape reproduces see. Unlike the fictive medium of painting, the actual scene from the window. photography is an “off strike of reality.” Since the “real” landscape and the By dissipating objectivity, by freeing painting of the landscape are, in fact, the image of its apparent “content,” it mere two-dimensional depictions, our allows the photograph its spatial nature. entire perception of reality is questioned Ambiguity’s oscillation (movement back as it is now possible that the view from and forth) makes temporality an essential any window could be real or illusory. In part of this nature. As a spatiotemporal painting, three-dimensional space must construct, the ambiguous image be created before it can be questioned becomes a new architecture, one which whereas in architecture, already in the interrogates its own constitution. In this figure 15 third dimension, the reverse procedure sense, Le Corbusier discovered illusory occurs. In Le Corbusier’s Pavillon de space in the space of representation. L’Esprit Nouveau, one wall of the outdoor But how to introduce such space terrace has been opened to the foliage, to the seemingly nonfictive realm of the scene flattened and stretched like architecture?25 a painting across the frame of the two- story opening.23 (figure 11-12) An answer is found initially in certain early houses of Le Corbusier in which In the photographs of houses of Le “reality” is presented, if only momentarily, Corbusier, they are never covered with as representation. At Villa Savoye, a curtains, neither is access to them framed opening in a freestanding wall prevented by means of hampering provides the roof terrace with a “picture” objects. On the contrary, everything in of the natural landscape; while the large, these houses seems to be disposed unglazed opening of the south facade, of in a way that continuously throws when viewed from outside the house, the subject toward the periphery of provides a taut, canvaslike elevation the house. The look is directed to the animated by ever-changing natural light, exterior in such a deliberate manner as light trapped within the composition. In to suggest the reading of these houses both instances, architecture confines as frames for a view. Even when actually nature, reducing it to surface treatment. in an ‘exterior’, in a terrace or in a ‘roof figure 16 SUBJECTIVE MATTER IMAGING THE SPACE

“The look is directed to the exterior in such a deliberate manner as to suggest the reading of these houses as frames for a view. Even when actually in an ‘exterior’, in a terrace or in a ‘roof garden’, walls are constructed to frame the landscape, and a view from there to the interior.”

figure 17 26 SUBJECTIVE MATTER IMAGING THE SPACE

As flattened representation, it loses “The entire villa is virtually a roof garden, its privileged position as reality and enclosed on four sides, open to the becomes a sign of itself.26 (figure 17) landscape through strip windows. . . In one drawing the horizon line Looking at a landscape through a window stretches across the window boundary, creates a separation. It can be through a connecting the outside with the gridded car windshield, a train window or in an roof terrace, where a table is set for tea. airplane. Any window and any viewer can A vertical line divides the scene in two, experience this split. The world is divided the landscape of nature on one side, and into two separate realms. The realm that on the other, the artifacts of “civilized” we are truly in it and surrounded by its man, a bentwood chair and teacup. This borders, and the realm that we can only duality recalls Magritte’s The Voice of look at it when we are inside the first Silence, where a bourgeois living room, one. Colomina talks about the tangibility furnished with the same chairs but empty of that experience: “A “window” breaks of people, is juxtaposed to the menacing the connection between being in a black void on the other side of the wall.28 landscape and seeing it. The landscape (figure 12,13) Here also the two worlds becomes purely visual, and we depend are being depicted with the highest on memory to know it as a tangible contradiction possible, the void and its experience.”27That is the separation of nothingness next to the interior space of figure 18 the natural world and the man-made that living room. The difference is that in world of buildings and interiors. The man the Magritte’s painting, the void, which coming from nature is creating spaces is threatening, is also situated inside the to separate itself from the natural world building and in the landscape. which he found threatening and not comfortable all the time. The creation of “The view from the house is a categorical architecture depends on that fear of not view.” In framing the landscape the house being safe outdoors. places the landscape into a system of categories. The house is a mechanism In the case of Villa Savoye, this split can for classification. It collects views and, in clearly be seen. The most prominent doing so, classifies nature of the picture aspect is that the building is not sitting is the window. In another passage from on the ground and instead, on a set of Précisions, the window itself is seen as a columns. Besides that, all the ribbon camera lens: “When you buy a camera, windows and openings that le corbusier you are determined to take photographs used imply the two different worlds of in the corpuscular winter of Paris, or in inside and outside. Gorlin in his essay,The the brilliant sands of an oasis: how do you do it? You use a diaphragm. Your Ghost in the Machine: Surrealism in the glass panes, your horizontal windows Work of Le Corbusier, writes about this are all ready to be diaphragmed at will. figure 19 separation: You will let light in wherever you like.”29 If the window is a lens, the house itself

27 SUBJECTIVE MATTER IMAGING THE SPACE is a camera pointed at nature. Detached of the house by a moving eye. As has There is an interesting passage in from nature, it is mobile. Just as the been noted, these drawings suggest film Griffioen article, Imaging purity, in which camera can be taken from Paris to the storyboards, each of the images a still.32 he writes: “In 1924, a year after the desert, the house can be taken from publication of “Vers une architecture”, Poissy to Biarritz to Argentina.30 Le The description of the petite Maison on Adolf Loos wrote a polemical text Corbusier confirms that idea himself the shores of Lake Geneva in Précisions, warning against the ‘deceptive methods’ when he says: “The house is a box Le Corbusier recalls: “The key to the of some of his contemporaries who base in the air, pierced all around, without problem of modern habitation is to their reputation on pretty drawings and interruption. . . The box is in the middle inhabit first. . . placing oneself afterward” fine photographs. Although it is unknown of meadows, domination the orchard. . but what is meant here by “inhabitation” if Loos specifically had Le Corbusier in . The simple posts of the ground floor, and by “placement”? The “three factors” mind when writing this, it is interesting through a precise disposition, cut up that “determine the plan” of the house- to note his fear that representations the landscape with a regularity that has the lake, the magnificent frontal view, the of architecture would gain dominance 36 the effect of suppressing any notion of south, equally frontal are precisely the over the architecture itself.” Well, that ‘front’ or ‘back’ of the house, or ‘side’ of factors that determine a photograph of is exactly what happened. The current influence of images and photography is the house. . . The plan is pure, made for the site, or rather, a photograph taken inevitable on our architecture and our the most exact of needs. It is in its right from the site. “To inhabit” here means to taste. The difference is the scale of that place in the rural landscape of Poissy. inhabit that picture. Le Corbusier writes; widespread disease which today, with But in Biarritz, it would be magnificent. . “Architecture is made in the hand,” then the Internet and social media, are at the . . I am going to implant this very house drawn.” Only then does one look for highest point. The representations of on the beautiful Argentine countryside: the site. But the site is only where the architecture are what is rewarded and we will have twenty houses rising from landscape is “taken”, framed by a mobile not how good or bad, a space is lived 33 the high grass of an orchard where cows lens. (figure 18,19) and experienced. continue to graze” 31 “To inhabit” means to inhabit the camera. Le Corbusier is not to blame for what Le Corbusier describes the house in But the camera is not a traditional place, happened afterwards, because he was Précisions in terms of the way it frames it is a system of classification, a kind simply ahead of his time and using the landscape and the effect this framing of filing cabinet. “To inhabit” means to media to sell his ideas. But his ideas has on the perception of the house employ that system. Only after this do were influential enough to change the itself by the moving visitor. The house we have “placing”, which is to place the architectural trends after him. His focus is in the air. It has no front, no back, no view in the house, to take a picture, to on “the photographic gaze, with its side. The house can be in any place. It place the view in the filing cabinet, to concentration on surfaces, stimulated is immaterial. That is, the house is not classify the landscape.34 the migration of architectural meaning simply constructed as a material object to the outer shell, to the appearance from which certain views then become The house is drawn with a picture already of things” became the trend of the possible. The house is no more than a in mind. The house is drawn as a frame architectural world these days. Long series of views choreographed by the for that picture. The frame establishes story, short, Le Corbusier’s architecture visitor, the way a filmmaker affects the the difference between ‘seeing’ and as Griffioen writes, “ was thoroughly montage of a film. Significantly, he has merely looking. It produces the picture photogénique: geared to the camera”37 represented some of his projects in the by domesticating the ‘overpowering’ and one after visiting his spaces can say form of a series of sketches grouped landscape.35 if those buildings are truly built for living or together and representing the perception the sake of images.

28 INTERIOR DRAMA

figure 1 INTERIOR DRAMA IMAGING THE SPACE

In 1910, Loos wrote in his essay “Architecture”: “It is my greatest pride that the interiors which I have created are totally ineffective in photographs…. I have to forego the honor of being published in the various architectural magazines”1. Loos was reacting to the decisive similarities between architecture and the images of the architecture. In his opinion, the photographs could not reproduce the interiors he designed. Walter Benjamin in his essay, A Little History of Photography, expressed similar opinions on this subject: “Everyone will have observed how much easier it is to get the measure of a picture, especially sculpture, not to mention architecture, in a photograph than in reality.”2 But he talks about getting a dimension and not really and fully understanding the space, after all, the “aura” in his ideas cannot be captured in reproduction of a piece of art, especially an architecture space. Loos on the same essay continues: “The mark of a building which is truly established is that it remains ineffective in two dimensions.”3 He is talking about other qualities and senses, smelling, touching and feeling a space. (figure 2)

Richard Neutra recalls, Loos “prided himself on being an architect without a pencil: “In the year 1900, Adolf Loos started a revolt against the practice of indicating dimensions in figures or measured drawings. He felt, as he often told me, that such a procedure dehumanizes design. “If I want a wood paneling or wainscot to be of a certain height, I stand there, hold my hand at a certain height, and the carpenter makes his pencil mark. Then I step back and look at it from one point and from figure 2 30 INTERIOR DRAMA IMAGING THE SPACE another, visualizing the finished result was aiming to substitute architecture for with all my powers. This is the only hearing itself—as if, in the fine, fragile human way to decide on the height of a structures and textures of the inner ear, wainscot, or on the width of a window.”4 he could understand the relationships Loos was inclined to use a minimum of of materials to sound. Marble would, of paper plans; he carried in his head all course, differ from wood or glass in its the details of even his most complex reflectivity of sound, just as people, as they designs, because for him architectural moved about, would impact the acoustic spaces would be created by imagining qualities of a space. The marble, wood, and feeling the space rather than seeing carpet, and concrete in Loos’s designs it. It would be notable to indicate the are intended to perform not simply as differences of his opinions from that of visual features or designations of luxury, Le Corbusier on the same topic. but as elements of a carefully engineered sound contraption.8 It can be concluded In “The Principle of Cladding” Loos points that every detail in his architecture would out that: “The artist, the architect, first have all these qualities of materials and senses the effect that he intends to realize senses. (figure 3) and [then] sees the room he wants to create in his mind’s eye. He senses the Therefore, this aspect might have effect that he wishes to exert upon the triggered him to even think of the people spectator . . . hominess if a residence.”5 as actors in his spaces as well, the He asserted that for him architecture is movement and their actions would be more of sensing instead of seeing, that more important than anything else. The figure 3 is what separates his spaces from those performing becomes a prominent part of Le Corbusier in which seeing was the of his design, that he creates spaces for with white and black marble plates – in each of the four large windows most important aspect. It can be traced visitors to his spaces, not people who horizontally striped. The most beautiful opening onto the swimming pool. ‘Each, back to Adolf Loos hearing loss as well. inhabit there, then everyone is an actor aspect of the house is a swimming pool, even if there is no one looking through As a child, his hearing was poor, and to the scene and is being seen by others with supernatural light effects.’ Catherine it, constitutes, from both sides, a gaze’, by the time he reached his mid-50s, in interior spaces. Slessor10 in her essay, Loos and Baker: says Colomina. his condition had deteriorated to the a house for Josephine, writes: It may point that he became dependent on a For example in the “petit salon” in be no coincidence that the denuded Josephine Baker’s swimming pool can hearing trumpet. As it declined further, Josephine Baker9 house, which was modern surface and the art of striptease be compared to a painting by Mary he began to carry a pen and notebook, never built, is a key element of Loos’s both came into being in the early 20th Cassatt12. (figure 4) “In The Loge” is an writing down what he wanted to say. theatrical design. The petit salon, a space century. Loos’s is clearly an objectifying 1878 painting depicting a woman at “From the mid-1920s on, Loos read his next to the swimming pool, a top lit, male gaze and the house a fastidiously the Garnier Opera in Paris using opera environment from an almost completely double-height swimming pool, 9m long, confected Modernist peep show.11 glasses to watch other guests in their sound-insulated world.”6 I am not entirely 4m wide and 2m deep, surrounded by Colomina also imagines a scenario in theater box during the intermission , sure about what happened then to his glass windows, functioned like a visual which the swimmer in the pool might see while she herself is being spied upon by way of working, but it is probable to think apparatus in which the voyeur (Loos) her reflection, framed by the window, ‘of another person. It is interesting that now that he used all his other senses more, observes the swimmer (Baker), who, her own slippery body superimposed her image and her appearance there to replace the weakness of his hearing. consumed by her own reflection, cannot on the shadowy figure of the spectator got stuck between two gazes, one of see the spectator. (figure 5,6) Loos … thus she sees herself being looked us looking at her and the man looking at Weizman7 in her essay, Tuning into said about this house: ‘I drew a plan for at by another; a narcissistic gaze her. The voyeuristic look is not only for the Void, The Aurality of Adolf Loos’s Josephine’, wrote Loos. ‘I think it to be superimposed on a voyeuristic gaze’. the man who is looking at her, but also Architecture, states that: “Perhaps Loos one of my best. The outer wall is covered This ‘erotic complex of looks’ is inscribed for us looking at her image.13 The opera 31 INTERIOR DRAMA IMAGING THE SPACE

figure 5

figure 4

32 figure 6 INTERIOR DRAMA IMAGING THE SPACE

figure 8

figure 7 houses were not only to view the opera (itself a rather dark passage), enters the itself, but a gathering place for upper living room, would take a few moments to class people of time where they could recognize a person sitting on the couch. socialize and meet each other, and more Conversely, any intrusion would soon importantly a place where they could be detected by a person occupying this see and be seen. One important cultural area, just as an actor entering the stage aspect of modern life. is immediately seen by a spectator in a theater box.”14 The window is only to Similarly, that is the case in Moller house let the light in and the focus is on the (Vienna, 1928) where there is a raised interior, the outside world is not what this sitting area of the living room with a sofa building is pointing at. Colomina in the set against the window. (figures 7,8,9) same book concludes: “The inhabitants “Although one cannot see out the window, of Loos’s houses are both actors in and its presence is strongly felt. Anyone who, spectators of the family scene- involved ascending the stairs from the entrance in, yet detached from, their own space.” figure 9

33 INTERIOR DRAMA IMAGING THE SPACE

Loos “the artist, the architect, first senses the effect that he intends to realize and [then] sees the room he wants to create in his mind’s eye. He senses the effect that he wishes to exert upon the spectator . . . homeyness if a residences.” figure 10 34 INTRODUCTION IMAGING THE SPACE

The theater box is a device that both I am an object who knows himself to be movement in this interior. The body is publicity through images for his work. provides protection and draws attention seen.16 There is always another space arrested in this space while look can Loos destroyed much of the archival to itself. When Munz15 describes the in “Raumplan” that overlooks to another travel through other spaces. In the hall, evidence of his work, arguing that “every entrance to the social spaces of the one. The complexity of interior spaces one can feel being seen by others. Other work of art possesses such strong Moller house, he writes: “Within, entering makes one feel always being looked at spaces look down to the living room internal laws that it can only appear in from one side, one gaze’s travels in the by others even if there is no one there. and enhance this feeling. Colomina its own form.” He claimed photographs opposite direction till it rests in the light, about this room remarks: “Looking at the were useless in trying to document his pleasant alcove, raised above the living This treatment to the inhabitants of the photographs, it is easy to imagine oneself projects.22 Although he was taking care room floor. Now we are really inside the space is the most distinct aspect of in these precise, static positions, usually of how they are being photographed. house.” So where were we before? We Loosian system of planning form of Le indicated by the unoccupied furniture. The Fischer also notes: “Loos’s houses were may ask, when we crossed the threshold Corbusier’s machine of seeing. Loos photographs suggest that it is intended difficult to appreciate either through of the house and occupied the entrance creates the drama in his interiors, as that these spaces be comprehended by photographs (especially black-and-white hall and the cloakroom in the ground Colomina puts it: “His architecture is not occupation, by using this furniture, by images) or drawings, which in any case floor or while we ascended the stairs simply a platform that accommodates “entering” the photograph, by inhabiting Loos did not widely circulate. A Loos to the reception rooms on the second the viewing subject. It is a viewing it.”20 Which contrasts what Le Corbusier house was an elegant conundrum, a or elevated ground floor. The intruder mechanism that produces the subject. was probably intending to create, he puzzle for architects to explore and is “inside”, has penetrated the house, It precedes and frames its occupant.”17 wanted to create an image of the space, appreciate on its own terms. It resisted only when his/her gaze strikes this most In Frau Müller’s boudoir or women not necessarily a space to be inhabited, categorization.”23 Instead he was intimate space, turning occupant into a corner in villa Müller (1930, Prague), but an image. This is a feeling one can focusing more on the piece of domestic silhouette against the light. The “voyeur” in a narrow space with a single window sense being in his interiors that is more drama which he had in mind. the “theater box” has become the object to the exterior is designed for her as a about seeing than being. (figure 10) of another’s gaze; she is caught in act of library and a meeting room, which can Colomina in her book writes: “Many of seeing, entrapped in the very moment of be used as music room during the There is an unknown passage of a well- the photographs [of Loos’s architecture], control. In framing a view, the theater box parties with its view to the living room as known book, Le Corbusier Urbanisme tend to give the impression that someone also frames the viewer. It is impossible to well. Fischer18 about this space in his (1925), that reads: “Loos told me one is just about to enter the room.”24 It can abandon the space. Let alone leave the article, White Walls in the Golden City, day: ‘A cultivated man does not look out be seen in of one of the rear and only house, without being seen by those over points out that: “While the man was of the window; his window is a ground published photograph of an Adolf Loos whom control is being exerted. Object sequestered in a corner of the house in glass; it is there only to let light in, not to interior that includes a human figure. and subject exchange places. dark mahogany seclusion, the woman let the gaze pass through.”21 It points to a The man can only just be seen at the was placed in a box suspended over, but conspicuous yet conspicuously ignored entrance to the drawing room of the Jacques Lacan pointed out this feeling not included in, the activities of the main feature of Loos’s houses: not only are Rufer house (Vienna, 1922). (figure 11) that is also true for the experience of one social space of the living room. Who the windows either opaque or covered What is he going to do, who is he or what sensing the Loos’s interiors, “I can feel was watching whom? Who controlled with sheer curtains, but the organization is the business there, we don’t know. It myself under the gaze of someone whose the gaze and thus the business of the of the spaces and the disposition of the all adds to the dramaticialty of the space. eyes I do not even see, not even discern. house? Was the boudoir a sentry box or built-in furniture seem to hinder access All that is necessary is for something to a prison cell?”19The Loos’s interiors have to them. A sofa is often placed at the Something is about to happen which we signify to me that there may be others characters like the people who inhabit foot of a window so as to position the are clueless about it. This image can be there. The window if it gets a bit dark and them. A masculine or a feminine space occupants with their back to it. They all compared to this scene from Hitchcock’s if I have reasons for thinking that there are in dialogue together. imply the focus of his spaces towards “Psycho” (1960) when the detective is is someone behind it, is straightway a the inside the house and the stories or going up the stairs now knowing what is gaze. From the moment this gaze exists. In villa Müller, entering to the hall is dramas which were happening there. expecting him. This the highest amount I am already something other, in that, I designed as one is entering a stage. of suspense that can be reached within feel myself becoming an object for the After a dark corridor and a flight of stairs, Now if look at the way Loos houses were a few seconds in a movie. (figure 12) gaze of others. But in this position, which suddenly one enters a wide room with photographed the differences will reveal is a reciprocal one, others also know that a high ceiling. There is a continuous more. He wasn’t intended to create that In contrast to Le Corbusier which treated 35 INTERIOR DRAMA IMAGING THE SPACE

“What is he going to do, who he is or what is the business there, we don’t know.”

figure 11 36 INTERIOR DRAMA IMAGING THE SPACE

figure 12 37 INTERIOR DRAMA IMAGING THE SPACE

reflection in the mirror is a self-portrait are no longer clear-cut divisions. In fact, projected onto the outside world. The photograph represents a displacement placement of Freud’s mirror on the of the model of the camera obscura, boundary between interior and exterior and with it, as Jonathan Crary29 notes, undermines the status of the boundary the figure of an “interiorized observer” a as a fixed limit. Inside and outside cannot “privatized subject confined in a quasi- simply be separated. Similarly, Loos’s domestic space, cut off from a public mirrors promote the interplay between exterior world,” into a model in which the reality and illusion, between the actual distinction between interior and exterior, and virtual, undermining the status subject and object, are “irrevocably of the boundary between inside and blurred.” 30 outside.”27 (figure 14) Loos is doing what le Corbusier did with his photo mural In conclusion, the insulation and walls, creating an illusional space. emptiness in the photographs of the Villa Müller can lead to a setting where the The spread of photography coincides occupant is always a stranger performing with the development of psychoanalysis. a role on a private stage. This stranger Between the two there is more than is denied a view out of the house by one relation. Benjamin points out that windows that are too high, too narrow or it is through photography that “one blocked, or by mirrors that keep the gaze first learns of the optical unconscious, reflected inward. He must be protected just as one learns of the drives of the from the distractions of the surrounding unconscious through psychoanalysis.” city. With Le Corbusier, the reverse is true, And Freud himself explicitly sees the of course. The Villa Savoy is a film where relation between unconscious and the actors are forever focused outward, figure 13 conscious in terms of photography: peering through the strip windows at the “Every mental process… exists to begin landscape and claiming it for their own. within an unconscious stage or phase The perception here is not static but and it is only from there that the process rather in motion. For Colomina the irony architecture as a more subjective matter, passes over into the conscious phase, is that in the end, both regimes lead to for Loos objectivity of architecture just as a photography picture begins as alienation. “The subject in Le Corbusier’s mattered more, although he was trying to a negative and only becomes a picture house is estranged and displaced from flirt with those boundaries by mixing the after being formed as a positive. Not his/her own home,” exactly like the poor relation of inside and outside. Kenneth every negative, however, necessarily Loosian occupant, except in this case Frampton25 has pointed out, appear to becomes a positive; nor is it necessary it is because there is no possibility of be openings and openings that can be that every unconscious mental process stasis. In a Loos house, the subject is mistaken for mirrors.26 For example in should turn into a conscious one.”28 The always about to arrive; in a Le Corbusier the Steiner house (Vienna, 1910), there unconscious and the conscious, the house, he has always just left.31 is a mirror just under an opaque window. invisible and the visible, like the negative (figure 13) The window is only a source enclosed within the camera and the print of light and the mirror returns the look to of the exterior developed from it, cannot the inside. That mirror can be compared be thought of independently of one to the mirror which Freud used to hang in figure 14 another. Furthermore, both photography his studio in Vienna. “In Freudian theory, and the unconscious presuppose a new the mirror represents the psyche. “The spatial model in which interior and exterior 38 CONCLUSION IMAGING THE SPACE CON- CLUSION

39 CONCLUSION IMAGING THE SPACE

be possible to be shared on social me- the voyeuristic atmosphere created by viewers are the performers. It seems “Architects live and dia, for attention, for communicating with windows towards her body reveals his that the two ideas of Le Corbusier and die by the images that are taken of their other people, or “friends” which are not intentions. Loos spaces are perfect for Adolf Loos, in these spaces, are coming work, as these images alone are what there anymore. Everything is visual and peeping end enjoying someone else’s together, architecture as an image and most people see. For every person who illusional. There is less and less demand existence/image. The architecture of architecture as a drama set. visits a private house, there are maybe for real communication between two or Masturbation? 10,000 who only view it as a photo.”1 more people in real life, we would rather In the end, I would like to say that the solve everything online, even marriages! Seeing and being seen in the space. There most of architectural spaces today are “Photogénique Architecture” or one So when life is not following the physical- are two spaces which can be compared manipulating us by the way they are might say the spaces that are created for ity anymore, when the images of reality to Loos and Le Corbusier’s architectural represented by images. “The image has the sake of being photographed, pub- are more important than the real itself, works in an extreme way and I thought it doubtlessly become the most powerful licity and social media. Instagramable when most people would prefer seeing is necessary to also mention them. One medium for the distribution of visual con- spaces. Are we living in the era of “Pho- instead of being, then architecture might is the Barcelona Pavilion (1928) of Mies tent regardless of location. The grow- togénique Spaces”? Is our experience of follow as well. Van Der Rohe. When commissioned to ing use of the image is mirrored in the living threatened by the influence of im- build the German pavilion he asked the publication of architecture.”2 Either on ages on how we actually live? In the early 20’s century, Loos and Le Ministry of Foreign Affairs what was to be the social media or websites, beautiful- Corbusier were needed to move archi- exhibited. ‘Nothing will be exhibited’ he ly printed booklets on shiny papers and Nowadays, social media has a great tectural spaces beyond what they were. was told, “The pavilion itself will be the magazines (or commercial books, such influence on how we see the world as It is not a space you can live in and enjoy exhibit”.1 In the absence of a traditional as Taschen publication), tourist guides they are highly dependant on images/ your life, it is rather space where you can program, the pavilion became an exhibit and so on. The image of architecture is videos/GIFs, etc. Even newspapers are see and be seen by others, to overcome about the exhibition. All it exhibited was a what valued today and not the space by dependant on photography to transfer the boringness and the difficulty of life/ new way of looking. a person standing in itself. Being in the space and perceiving their messages in a more effective, al- being. Le Corbusier’s focus on “the pho- front of one of the glasses sees himself it by all senses is what I think is lost in though most of their pages are filled with tographic gaze” and the appearances of reflected like a mirror but as he moves judging the architecture of today, judging written texts. These influence of images things” became the trend of the archi- behind he sees the exterior perfectly. made by politicians or businessmen to which were talked about in the previ- tecture. Architecture as ‘representation’ Then architecture is a platform of seeing. decide to build a new airport or a stadi- ous chapters is playing a crucial role in is what we are dealing with nowadays. um, a decision made by locals to have a architecture today. The way people see Everyone wants to see glorious and The other space is Public Space/ new design for their community center, architecture and the places they want to magnificent Render images of spaces. Two Audiences (1976), Dan Graham’s or by the judges of huge architectural live in. These trends are changing peo- The image is more important than any- contribution to the Venice Biennale Arte, competitions for billion dollars projects ple’s taste of favorable architecture who thing else. Adolf Loos feared this, way where a rectangular room was divided all over the world. The architecture of are potential clients of architectural of- before everyone else might have no- into two squares by an acoustic pane. living spaces vs Photogénique architec- fices. One might call it even a disease, ticed. He wrote about ‘deceptive meth- One end was mirrored, while the other ture. Art vs Business. Life vs Instagram. which is getting more widespread than ods’ of some of his contemporaries, and end wall was white. Visitors to the Although regarding the era we’re living ever before. Space should look pho- that might make the representations of pavilion could see themselves, looking in, it might seem inevitable to suffer this togénique instead of being livable, hom- architecture gaining dominance over the at themselves in the other room. The much from Photogénique architecture: ey and comfortable. We need more than architecture itself. But what he did had room could capture an image. In both “The growing use of the image within comfort and silence in our lives. We need other problems. Loos created spaces pavilions, visitors see themselves in architecture might be understood from Drama. And we need to be appreciated that were struggling not to be represent- the space of the exhibition. People an economic point of view, as a result by others based on how beautiful looking ed but by doing that turned the residents only encounter themselves and of both the increasing specialization in the spaces that we are in, how they can and the visitors, an object of the gaze. In their reflection. Here the architecture building and planning industries, and the be photographed beautifully, and later Josephine Baker’s house, for example, becomes the optical instrument and the establishment of international markets no

40 CONCLUSION IMAGING THE SPACE longer bound by borders, as well as the Introduction: ensuing intensified competition among architects.”3 Nevertheless it has its own REFER- 1. Based on the text of Loos and Le great negative influence on architecture. Corbusier, 1919 -1930. Raumplan versus Plan Libre. Edited by Max In this capitalistic world where money ENCESRisselada. Delft University Press. 1988. and businesses are valued more than 7. anything else, why would architecture offer something different than that? As Appropriation of the reality: Sheikh Baha’i4 the Persian poet in the 16th century composed this verse: 1. Sontag, Susan. On Photography. London, Penguin books, 1977, 178. Susan Sontag, née Susan Rosenblatt, (born in 1933, U.S.) American intellectual and writer, best known for her essays on modern culture. 2. Phillip Prodger is head of photographs at the National Portrait Gallery in London, Which literally means “Nothing comes U.K. out of the vase but what’s in it”, when 3. Prodger, Phillip, Oct 29, 2015. there is water, then water comes out Accessed on http://time.com/3818034/ when there is wine, wine, and when photography-and-cinema/ there are human feces, feces come out. 4. Ebert, Roger. Man with a Movie When the world is a place of commerce Camera, July. 2009. www.rogerebert. and everything is compared by its mon- com. etary value, why not architecture. Why 5. Berger, John. Understanding a not Frank Gehry, OMA Jean Nouvelle, Photograph. London, Penguin Books, MVRDV, and all other brands design the 2013, 99-100. whole planet. Or even the other planets. 6. Berger, John. Ways of Seeing. London, Architecture follows the trend of the day Penguin books, 1990. pp. 9-10. to survive and to make money. After all, John Berger, in full John Peter Berger, we all live on that. (born in 1926, London), British essayist and cultural thinker as well as a prolific novelist, poet, translator, and screenwriter. He is best known for his novel G. and his book and BBC series Ways of Seeing. 7. Sontag, Susan. On Photography. London, Penguin books, 1977, 22. 8. Camus, Albert. The Rebel. London, Penguin books, 1971, 234. Albert Camus, (born in 1913, Mondovi, Algeria), French novelist, essayist, and playwright, best known for such novels 41 REFERENCES IMAGING THE SPACE as The Stranger, The Plague and The in the mid-20th century. Classic Books, Fall 1998. of Photography). Harvard design Fall. He received the 1957 Nobel Prize 19. Goertz, Ralph. Peter Lindbergh & 8. Villa Savoye (1928/30), This villa magazine, No. 6 / Representations/ for Literature. Garry Winogrand: Women. Cologne, invoked the principle of an independent Misrepresentations and Revaluations of 9. Roland Barthes, (born in 1915, Koenig Books, 2017, 22. piloti structure from the very start. In two Classic Books, Fall 1998. Cherbourg, France) French essayist and 20. Sontag, Susan. On Photography. directions there are four bays of five 18. Ibid. social and literary critic whose writings on London, Penguin books, 1977, 87. meters each, a different “plan libre” being 19. Ibid. semiotics, the formal study of symbols 21. Berger, John. Ways of Seeing. devised for each floor. 20. Alexander Gorlin, a New York-- and signs pioneered by Ferdinand de London, Penguin books, 1990. pp. 9. Beatriz Colomina is an internationally based architect, is a winner of the Rome Saussure, helped establish structuralism 9-10. renowned architectural historian and Prize in Architecture and has taught at and the New Criticism as leading 22. Sontag, Susan. On Photography. theorist who has written extensively on Yale University and at Cooper Union. intellectual movements. London, Penguin Books, 1977, 161. questions of architecture, art, technology, He is the author of The New American 10. Barthes, Roland. Image Music sexuality, and media. She is Founding Townhouse, also published by Rizzoli. Text (The rhetoric of the image), Trans. Subjective matter: Director of the interdisciplinary Media 21. Gorlin, Alexander. The Ghost in the Stephen Heath. New York, Hill, and and Modernity Program at Princeton Machine: Surrealism in the Work of Le Wang, 1977, 152. 1. Daniel Naegele is an architect and University and Professor and Director Corbusier. Published by The MIT Press 11. Benjamin, Walter. Illuminations. critic and assistant professor in the of Graduate Studies in the School of on behalf of Perspecta. Vol. 18 (1982), Edited by Hannah Arendt. Random Department of Environmental Design at Architecture. pp. 51. House, 1986, 68. the University of Missouri in Columbia. He 10. Colomina, Beatriz. Privacy and 22. Ibid, p, 56. 12. Benjamin, Walter. A Little History of achieved his Ph.D degree in architecture Publicity, Modern Architecture as Mass 23. Ibid, pp. 53-54. Photography, Selected Writings: 1931– from University of Pennsylvania, Media. Massachusetts, MIT Press, 24. Colomina, Beatriz. Privacy and 1934, translated by Rodney Livingstone Philadelphia in 1996. 1994, p. 6. Publicity, Modern Architecture as Mass and others, edited by Michael W 2. Naegele, Daniel. Savoye Space. 11. Ibid. Media. Massachusetts, MIT press, Jennings. Belknap Press of Harvard Harvard Design Magazine, No.15 / Five 12. Walter, Benjamin. Illuminations. 1994, p. 283. University Press, 2005, 524. Houses, plus American Scenes, Fall Edited by Hannah Arendt. Random 25. Naegele, Daniel. Object, Image, Aura 13. Naegele, Daniel. Object, Image, Aura 2001. House, 1986, pp. 233-234. (Le Corbusier and the Architecture of (Le Corbusier and the Architecture of 3. Stanislaus von Moos is a Swiss art 13. Colomina, Beatriz. Privacy and Photography). Essay in Harvard design Photography). Essay in Harvard design historian and architectural theorist. Born Publicity, Modern Architecture as Mass magazine, No. 6 / Representations/ magazine, No. 6 / Representations/ in 1940. Media. Massachusetts, MIT Press, Misrepresentations and Revaluations of Misrepresentations and Revaluations of 4. Colomina, Beatriz. Privacy and 1994, p114. Classic Books, Fall 1998. Classic Books, Fall 1998, 3. Publicity, Modern Architecture as Mass 14. Naegele, Daniel. Object, Image, 26. Ibid. 14. Ibid. Media. MIT Press, 1994, 114. Aura (Le Corbusier and the Architecture 27. Colomina, Beatriz. Privacy and 15. Dziga Vertov, born on 1896 in Poland, 5. Le Corbusier, Creation Is a Patient of Photography). Harvard design Publicity, Modern Architecture as Mass was a Soviet pioneer documentary Search. New York: Frederick Praeger, magazine, No. 6 / Representations/ Media. Massachusetts, MIT press, film and newsreel director, as well as a 1960, 203. Misrepresentations, and Revaluations of 1994, p. 134. From Raoul Bunschoten, cinema theorist. 6. Le Corbusier, publicity brochure for Classic Books, Fall 1998. Worlds of Daniel Libeskind, AA files 10, 16. Berger, John. Ways of Seeing. Vers une Architecture, Fondation Le 15. Le Corbusier, Twentieth Century p. 79. London, Penguin books, 1990, 17. Corbusier, Box B2–15. As quoted in Building and Twentieth Century Living, p. 28. Gorlin, Alexander. The Ghost in the 17. Ebert, Roger. Man with a Movie Beatriz Colomina, “Le Corbusier and 146. Machine: Surrealism in the Work of Le Camera, July 2009. www.rogerebert. Photography,” assemblage 4 (1987), 15. 16. Colomina, Beatriz. Privacy and Corbusier. Published by The MIT Press com 7. Naegele, Daniel. Object, Image, Publicity, Modern Architecture as Mass on behalf of Perspecta. Perspecta Vol. 18. Garry Winogrand, born in 1928, Aura (Le Corbusier and the Architecture Media. Massachusetts, MIT Press, 18 (1982), pp. 55. was an American street photographer of Photography). Harvard design 1994, p. 7-8. 29. From Le Corbusier, Précisions sur from the Bronx, New York, known for his magazine, No. 6 / Representations/ 17. Naegele, Daniel. Object, Image, un état présent de l’architecture et de portrayal of U.S. life and its social issues, Misrepresentations and Revaluations of Aura (Le Corbusier and the Architecture l’urbanisme, Paris, Vincent, Fréal, 1930), 42 REFERENCES IMAGING THE SPACE pp. 57-58. You Read Me?.2014. 15. Ludwig Münz, born on 1889, was an the Complete Psychological Works of 30. Colomina, Beatriz. Privacy and 7. Ines Weizman is an architect and Austrian curator, art historian, author. Sigmund Freud, ed. And trans. James Publicity, Modern Architecture as Mass theorist; she is currently Junior Professor 16. Lacan, Jacques, The Seminar of Strachey. London, Hogarth Press. 1953- Media. Massachusetts, MIT press, of Architectural Theory at Bauhaus Jacques Lacan: Book I, Freud’s Papers 1974, vol. 16. P. 295. 1994, p. 311-314. University Weimar. on Technique 1953-1954, ed. Jacque- 29. Jonathan Crary, born in 1951, is an 31. Ibid., pp. 136-138. 8. Ibid. Alain Miller, trans. John Forrester, Norton, American art critic and essayist, and is 32. Ibid., pp. 312. 9. Josephine Baker, born in 1906, was New York, and London, 1988, p. 215. Meyer Schapiro Professor of Modern 33. Ibid., pp. 314. an American-born French entertainer, Lacan is referring to Jean-Paul Sartre’s Art and Theory at Columbia University in 34. Ibid., pp. 323. activist, and French Resistance agent. Being and Nothingness (1943). New York. 35. Ibid., pp. 315. Her career was centered primarily in 17. Colomina, Beatriz. Journal article, 30. Ibid., p80-81. 36.Griffioen, Roel. Imaging purity. The Europe, mostly in her adopted France. intimacy and spectacle: the interiors of 31. Fischer, Jan Otakar. White Walls rhetoric of the photographic image in It is said that she didn’t even suggested Adolf Loos. AA Files. No. 20. Autumn in the Golden City. Harvard Design Le Corbusier’s Vers une architecture. Loos to design her a house. Loos met 1990. pp. 5-15. Magazine. No. 15 / Five Houses, plus Kunstlicht· vol 32. no 3. 2011. Roel her in a part and because of his hearing 18. Jan Otakar Fischer is an architect American Scenes. 2001. Griffioen is a researcher and writer. He loss, probably made a mistake about and critic living in Berlin. is currently a Research Organization designing a house for her. But he went 19. Fischer, Jan Otakar. White Walls Conclusion: Flanders (FWO) Ph.D. candidate at the on and even made models of that house. in the Golden City. Harvard Design Department of Architecture and Urban 10. Catherine Slessor is an architecture Magazine. No. 15 / Five Houses, plus 1. Quote from the documentary film Planning, Ghent University. editor, writer and critic. She is a former American Scenes. 2001. “Visual Acoustics– The Modernism of 37. Ibid. editor of UK magazine The Architectural 20. Colomina, Beatriz. Privacy and Julian Shulman”, Director: Eric Bricker, Review and recently completed an MA Publicity, Modern Architecture as Mass USA 2008. Interior drama: in Architectural History at the Bartlett Media. MIT Press, 1994, p. 234. 2. Colomina, Beatriz. Double Exposure: School of Architecture, University 21. Ibid. Alteration to a Suburban House (1978). 1. Loos, Adolf. On Architecture: Writings College London. 22. Fischer, Jan Otakar. White Walls Dan Graham. Phaidon. 2001. pp.82-88. by Adolf Loos, “Architecture” (1910). 11. Slessor, Catherine. Loos and Baker: in the Golden City. Harvard Design 3. Schaerer, Philipp. Built Images: on Ariadne Press, 2002. P. 78. a house for Josephine. The Architectural Magazine. No. 15 / Five Houses, plus the Visual Aestheticization of Today’s 2. Benjamin, Walter. A Little History of review, March, 2018. American Scenes. 2001. Architecture. Transfer Global Architecture Photography. (1931), Selected Writings: 12. Mary Stevenson Cassatt, born on 23. Ibid. Platform. April 2017. Philipp Schaerer is 1931–1934, translated by Rodney 1844, was an American painter and 24. Colomina, Beatriz. Privacy and a visual artist and architect, specializing Livingstone and others, edited by printmaker. She was born in Allegheny Publicity, Modern Architecture as Mass in the field of digital image processing. Michael W Jennings. Belknap Press of City, Pennsylvania, but lived much of Media. MIT Press, 1994, p. 250. 4. ibid. Harvard University Press, 2005, p523. her adult life in France, where she first 25. Kenneth Brian Frampton, born in 5. Baha al Din Muhammad ibn Husayn al 3. Loos, Adolf. On Architecture: Writings befriended Edgar Degas and later 1930, is a British architect, critic, historian Amil (also known as Sheikh Baha’i) (born by Adolf Loos, “Architecture” (1910). exhibited among the Impressionists and the Ware Professor of Architecture on 1547) was a Shia Islamic scholar, Ariadne Press, 2002. P. 78. 13. Written based on a short talk “Cassatt, at the Graduate School of Architecture, philosopher, architect, mathematician, 4. Neutra, Richard. Survival through In the Loge” from khan academy series Planning, and Preservation at Columbia astronomer and poet who lived in the late Design. New York: Oxford University of “Art in 19th century Europe. Realism, University, New York. 16th and early 17th centuries in Safavid Press, 1954. p. 300. Impressionism and Post-Impressionism”. 26. Frampton, Kenneth, from a lecture at Iran. 5. Colomina, Beatriz. Privacy and https://www.khanacademy.org/ Columbia University, Fall 1986. Publicity, Modern Architecture as Mass humanities/becoming-modern/avant- 27. Colomina, Beatriz. Privacy and Media. MIT Press, 1994, p264. garde-france Publicity, Modern Architecture as Mass 6. Weizman, Ines. Tuning into the Void: 14. Colomina, Beatriz. Privacy and Media. MIT Press, 1994, p. 252. The Aurality of Adolf Loos’s Architecture. Publicity, Modern Architecture as Mass 28. 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Introduction: pompidou, Paris. figure 5: Omid Torkkheirabadi, December figure 10: André Kertész, 1919, A Red 2018, The wall of image, the window LIST OF figure 1: John Berger 1972, Ways of Hussar Leaving Budapest, 17.15 x above the entrance of Maison La Roche Seeing TV series, a screenshot from the 24.77 cm , the estate of André Kertész, in Paris (1925). film, accessed 9 November 2018, accessed 15 December 2018, figure 6: Albin Salaün, 1936, Pavillon hussar-leaving-budapest-andre-kertesz> 2 November 2018, Foundation Le figure 2: Bernard Tschumi 1976-77, figure 11: Vertov, Dziga, 1929. Man with Corbusier, Advertisements for Architecture, a series a Movie Camera, a screenshot from the Untitled, New York. The Estate of Garry string1%2078&sysParentName=&sysParentId=64> Winogrand/Courtesy Fraenkel Gallery, figure 7: Marius Gravot, 1929, the lobby Appropriation of the reality: San Francisco. accessed on 14 March of Pavillon Suisse in Paris (1929-33), 2019, Foundation Le Corbusier, Sedgwick, 1928. The Cameraman. A artanddesign/2014/oct/15/-sp-garry-winogrand- genius-american-street-photography > figure 8: Author unknown, around 1925, screenshot from the movie, released the entrance space of Maison La Roche USA 1928. Subjective matter: in Paris (1925). figure 2: Ibid. figure 9: Giorgio de Chirico, 1927, figure 3: Ibid. figure 1: Omid Torkkheirabadi, March Furniture in the Valley, oil on canvas, figure 4: Eadweard Muybridge, 1872, Museum of Modern and Contemporary The Horse in Motion, provided directly 2019, The bidet ,Bedroom of Le Corbusier’s studio apartment in Paris Art of Trento and Rovereto, Italy. by Library of Congress Prints and Accessed 5 March 2019. Photographs Division, accessed 10 (1934). figure 2: Jean-Louis Cohen, 2012, Le Toward an Architecture: From figure 10: Foundation Le Corbusier, at_a_Gallop#/media/File:The_Horse_in_Motion_ the Bildungsroman to the Manifesto, 1929, Interior Villa Savoye, Paris, high_res.jpg> a screenshot from the video-lecture, accessed 15 December 2018, , figure 5: Buster Keaton, Edward reissued by the Getty Research Institute < http://www.fondationlecorbusier.fr/corbuweb/ Sedgwick, 1928. The Cameraman. A in 2007, accessed 5 October 2018, morpheus.aspx?sysId=13&IrisObjectId=7380&sys screenshot from the movie, released arentName=&sysParentId=64 > figure 6: Ibid. figure 3: Le Corbusier, 1923, Towards figure 11: René Magritte, 1933, The figure 7: Ibid. a new Architecture, trans. Frederick Human Condition III, Oil on canvas figure 8: Marcel Duchamp, 1912,Nude Etchells. New York, Dover Publications, (100 cm × 81 cm), National Gallery of Descending a Staircase, No. 2, Oil on 1986. p.160. Art, Washington DC. accessed on 28 canvas, 147 x 89.2 cm (57 7/8 x 35 figure 4: Le Corbusier (Charles-Édouard January 2019, 1/8 in.) Philadelphia Museum of Art, Jeanneret), 1920, Still Life, oil on canvas, accessed 19 January 2019, figure 12: Le Corbusier, 1925, L’esprit architettura/2018/11/a-bologna-il-padiglione-de- Ten Lizes, 1963 , exhibited in centre lesprit-nouveau-di-le-corbusier-si-racconta-in- 44 REFERENCES IMAGING THE SPACE una-mostra/attachment/le_corbusier_-padiglione_ figure 3: Fischer, Jan Otakar, 2001. White socks-studio.com/2014/03/03/i-do-not-draw- esprit_nouveau_parigi_1925_3/> Walls in the Golden City. Harvard Design plans-facades-or-sections-adolf-loos-and-the- figure 13: Le Corbusier, around 1929, Magazine. No. 15 / Five Houses, plus villa-muller/ An original sketch of the terrace of Villa American Scenes. Villa Muller, the office. figure 11: Colomina, Beatriz, 1994. Savoye, image reproduced from the Accessed on 28 January 2019, Press, p. 253. Illus. Adolf Loos, Rufer Loge, oil on canvas, 81 cm × 66 cm, living room. figure 14: Le Corbusier, around 1929, accessed on 28 February 2019, figure 12: Hitchcock, Alfred, 1960, Terrace of Villa Savoye, accessed on 14 Project.jpg> Privacy and Publicity, Modern Architecture figure 15: Omid Torkkheirabadi,figure 5: El-Dahdah, Farès. Atkinson, as Mass Media. Massachusetts, MIT September 2018, The window frame, Stephen. The Josephine Baker Press, p. 256. Illus. Adolf Loos, Steiner bedroom in Villa Savoye, in Paris (1928). House: For Loos’s Pleasure. Essay in house, Vienna, 1910. View of the dining figure16: Omid Torkkheirabadi,Assemblage No. 26. Apr. The MIT Press. room showing the mirror beneath the September 2018, The cut, terrace of 1995, p. 86. A part of the page from the window. Villa Savoye. essay, Petit salon in Josephine Baker’s figure 14: Colomina, Beatriz, 1994. figure 17: Omid Torkkheirabadi,house. Privacy and Publicity, Modern Architecture September 2018, Emptiness, Inside the figure 6: Ibid. Hallway looking into the as Mass Media. Massachusetts, MIT living room Villa Savoye. pool in Josephine Baker’s house. p. 85. Press, p. 257. Illus. Sigmund Freud’s figure 18: Colomina, Beatriz, 1994. figure 7: Colomina, Beatriz, 1994. Privacy study, Berggasse 19, Vienna. Detail Privacy and Publicity, Modern Architecture and Publicity, Modern Architecture as of the mirror in the window near his as Mass Media. Massachusetts, MIT Mass Media. Massachusetts, MIT Press, worktable. Press, p. 316. Illus. “On s decouvert le p. 245. Illus. Adolf Loos, Muller house, terrain.” Une petite Maison, 1954. Prague, 1930. Plan of the main floor. Conclusion: figure 19: Ibid. p. 317. Illus. “Le plan est figure 8: Colomina, Beatriz, 1994. Privacy installe. . .” Une petite Maison, 1954. and Publicity, Modern Architecture as figure 1: Part of the front page website Mass Media. Massachusetts, MIT Press, Guggenheim Helsinki design competition Interior drama: p. 239. Illus. Adolf Loos, Moller house, 2014, accessed on 14 March 2019, Vienna, 1928. The raised sitting area oof Adolf Loos with hearing aid, cropped figure 9: Colomina, Beatriz, 1994. Privacy image from Getty Images, accessed on and Publicity, Modern Architecture as 26 February 2019, Mass Media. Massachusetts, MIT Press, section tracing the journey if the gaze figure 2: Colomina, Beatriz, 1994. Privacy from the raised sitting area to the back and Publicity, Modern Architecture as garden. Drawing by Johan van de Beek. Mass Media. Massachusetts, MIT Press, figure 10: Author unknkown, Around p. 268. Illus. Adolf Loos flat. Lona Loos’s 1929, Living room of Villa Muller, Vienna. bedroom covered in fur and textiles. Accessed on 15 January 2019, http://

45 REFERENCES IMAGING THE SPACE

Books: 1991. * Schaerer, Philipp. “Built Images: * Le Corbusier. Towards a new on the Visual Aestheticization of BIBLIOG- * Barthes, Roland. Image Music Text (The Architecture. trans. Frederick Etchells. Today’s Architecture.” Transfer Global rhetoric of the image). Trans. Stephen New York, Dover Publications, 1986. Architecture Platform. April. 2017. Heath. New York, Hill, and Wang, 1977. * Loos, Adolf. On Architecture. Writings * Slessor, Catherine. Loos and Baker: RAPHY* Benjamin, Walter. A Little History of by Adolf Loos. Ariadne Press, 2002. a house for Josephine. The Architectural Photography. Selected Writings: 1931– * Risselada, Max. Raumplan versus Plan Review, March 2018. 1934, trans.y Rodney Livingstone and Libre (Adolf Loos and Le Corbusier, 1919 * Weizman, Ines. “Tuning into the Void: others, edited by Michael W Jennings. -1930). Delft University Press, 1988. The Aurality of Adolf Loos’s Architecture.” Belknap Press of Harvard University * Sontag, Susan. On Photography. Harvard Design Magazine, No. 38 / Do Press, 2005. London, Penguin books, 1977. You Read Me?.2014. * Benjamin, Walter. Illuminations. Edited by Hannah Arendt. Random House, Essays: Movies: 1986. * Berger, John. Understanding a * Colomina, Beatriz. “Intimacy, and * Bricker, Eric, “Visual Acoustics– The Photograph. London, Penguin Books, Spectacle: The Interiors of Adolf Loos.” Modernism of Julian Shulman”, USA 2013. AA Files. No. 20. Autumn 1990. 2008. * Berger, John. Ways of Seeing. London, * El-Dahdah, Farès. Atkinson, Stephen. * Getty Research Institute. “Le Penguin Books, 1990. The Josephine Baker House: For Loos’s Corbusier’s Toward an Architecture: From * Camus, Albert. The Rebel. London, Pleasure. Assemblage No. 26. Apr. The the Bildungsroman to the Manifesto” Penguin books, 1971. MIT Press. 1995. Youtube video from Getty Research * Colomina, Beatriz. Dan Graham, * Fischer, Jan Otakar. “White Walls in the Institute Channel, May 2012. “Double Exposure: Alteration to a Golden City.” Harvard Design Magazine. * Hitchcock, Alfred. “Psycho”, USA 1960. Suburban House (1978)”. Phaidon. No. 15 / Five Houses, plus American * Keaton, Buster. Sedgwick, Edward 2001. Scenes. 2001. “The Cameraman”, USA 1928. * Colomina, Beatriz. Privacy and Publicity, * Gorlin, Alexander. “The Ghost in the * Vertov, Dziga, “Man with a Movie Modern Architecture as Mass Media. Machine: Surrealism in the Work of Le Camera”, SSRS 1929. Massachusetts, MIT Press, 1994. Corbusier.” Perspecta Vol. 18 (1982), * Goertz, Ralph. Peter Lindbergh & Garry pp. 56. Published by The MIT Press on Winogrand: Women. Cologne, Koenig behalf of Perspecta. Books, 2017. * Griffioen, Roel. “Imaging purity. The * Lacan, Jacques, The Seminar of rhetoric of the photographic image in Jacques Lacan: Book I, Freud’s Papers Le Corbusier’s Vers Une architecture”. on Technique 1953-1954, ed. Jacque- Kunstlicht. Vol 32. No. 2011. Alain Miller, Trans. John Forrester, Norton, * Naegele, Daniel. “Object, Image, Aura New York, and London, 1988. (Le Corbusier and the Architecture * Le Corbusier. Creation Is a Patient of Photography)”. Harvard design Search. New York, Frederick Praeger, magazine, No. 6 / Representations/ 1960. Misrepresentations, and Revaluations of * Le Corbusier, Précisions sur un Classic Books, Fall 1998. état présent de l’architecture et de * Naegele, Daniel. “Savoye Space”. l’urbanisme (Precisions on the Present Harvard Design Magazine, No.15 / Five State of Architecture and City Planning) Houses, plus American Scenes, Fall Trans. Schreiber Aujame. MIT Press. 2001. 46

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