Architecture and Modern Literature
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa1
Nexus Esecutivo 19-01-2004 9:17 Seite 7 Marco Frascari Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa1 Consciously or unconsciously, part of the apparatus that architects use in their daily fabrications of the built environment grows out of their understanding of numbers and numerals. Marco Frascari examines the use of number and especially the number 11 in the architecture of Carlo Scarpa. In Scarpa’s opus, it is true that One and One Equals Two, but it is also wonderfully true that A Pair of Ones Makes an Eleven. Imagination is everything (Raymond Roussel 1975, p. 279). Introduction In their daily fabrications of the built environment, architects deal with the various chiastic relationships between visible and invisible. Part of the apparatus that they use, consciously or unconsciously, to imagine future constructions grows out of their understanding of numbers and numerals. To divine future buildings they rely on numeracy.2 Architectural numeracy consists in neither objective nor subjective constructs based on an arithmetical use of numbers, but rather in sedimentations of experience, formed by matter and memory. By the agency of tectonic aspects controlled by numbers, architects relate visible construction with invisible constructs. By linking recollection and anticipations, architectural numeracy deals with the meanings of constructional aspects and gives new visual angles. By using poli-dimensional tools of transversal epistemologies such as “angelic numbers” and “monstrous numerals”, the architect’s control of numbers transacts tangible matter with intangible dreams. Numbers summon up in detailed examinations what is passing and what is to come. Embodied in tectonic events and parts, numbers hinge the past and the future of buildings and their inhabitants into a search for a way of life with no impairment caused by psychic activity. -
Problems of the Baroque in 1975
T HESAVRVS BOLETÍN DEL INSTITUTO CARO Y CUERVO TOMO XXX Mayo-Agosto 1975 NÚMERO 2 PROBLEMS OF THE BAROQUE IN 1975 The following article does not try to continué the "Cri- tical survey of the Baroque theories" which I presented in this periodical IV (1948), 461-491, since this survey actually was continued in my book Estudios sobre el Barroco (Madrid, Gre- dos 1966, second edition 1973). Today I am rather interested in actual problems generally recognized as central, and in the attempt at their Solutions. There is agreement now on the fact that the transition from Renaissance to Baroque is such a slow process that it filis a whole period (roughly 1520 to 1600) which art historians cali Mannerism. One tried there- fore first to find criteria for the distinction of these two histo- rical phaenomena, Mannerism and Baroque, and to explain their fundamental differences and their possible overlappings. The second problem was, how the thus chronologically new- ly fixed Baroque fades out into something new which some believe to be the Classicism (particularly in France), which others, like the art historians, believe to be the Rococó. The latter still very debated concept supposes in retrospect a kind of coincidence between Classicism and Baroque. Furthermore, envisioning all this from a European and comparative view- point supposes time lags between the domination of a style trend in different countries, supposes the concept of dying and 210 HELMUT HATZFELD BICC, XXX, 1975 upcoming literatures, supposes the reckoning with the un- settled question of originis, and most of all, the importance of the psychological and sociological background which can- not be everywhere the same. -
At the Confluence of Art Nouveau and Ecclectic Early Modernism in Riga's
ZDZISŁAWA TOŁŁOCZKO* AT THE CONFLUENCE OF ART NOUVEAU AND ECCLECTIC EARLY MODERNISM IN RIGA’S METROPOLITAN ARCHITECTURE U ZBIEGU ART NOUVEAU I EKLEKTYCZNEGO WCZESNEGO MODERNIZMU W ARCHITEKTURZE METROPOLITALNEJ RYGI Abstract The aim of this paper was to draw attention to the coincidence of streets intersections ending, in general, in corner buildings making up typical and picturesque parts of the townscape of the 19th c. European cities, including the central quarter of Riga. This type of town-planning establishments perfectly compose with the art and aesthetics of Art Nouveau in Riga. An additional and very important component of the town- planning-architectonic solutions is the decorative finial of the corner houses (not only inJugendstil , but also the Latvian national romanticism) creating a harmonious composition in respect of art and town-planning, ideally completing the townscape of this Baltic metropolis. Keywords: Latvia, Riga, Cracow, New York, London, Berlin, history of architecture and city-planning, Art Nouveau, Modern Art, Jugendstil, National Romanticism Streszczenie Celem prezentowanego artykułu jest zwrócenie uwagi na koincydencję zbiegów ulic zakończonych na ogół wyraźnymi narożami, tworzącymi typowe, a jednocześnie malownicze, fragmenty krajobrazu dziewiętna- stowiecznych miast europejskich, w tym również śródmieścia Rygi. Tego rodzaju założenia urbanistyczne doskonale komponują się ze sztuką i estetyką Art Nouveau w Rydze. Dodatkową i jednocześnie niezwy- kle ważną komponentą rozwiązań urbanistyczno-architektonicznych są umieszczone na narożach ozdobne zwieńczenia (nie tylko w stylu Jugendstil’u, ale także łotewskiego narodowego romantyzmu) komponujące się wspólnie i harmonijnie pod względem artystycznym i urbanistycznym, uzupełniając znakomicie pejzaż tej nadbałtyckiej metropolii. Słowa kluczowe: Łotwa, Ryga, Kraków, Nowy Jork, Londyn, Berlin, historia architektury i urbanistyki, Art Nouveau, Modern Art, Jugendstil, Narodowy Romantyzm DOI: 10.4467/2353737XCT.15.154.4191 * Prof. -
Barcelona and the Paradox of the Baroque by Jorge Luis Marzo1
Barcelona and the Paradox of the Baroque By Jorge Luis Marzo1 Translation by Mara Goldwyn Catalan historiography constructed, even from its very beginnings, the idea that Catalunya was not Baroque; that is, Baroque is something not very "proper" to Catalunya. The 17th and 18th centuries represent the dark Baroque age, in contrast with a magnificent Medieval and Renaissance era, during which the kingdom of Catalunya and Aragón played an important international role in a large part of the Mediterranean. The interpretation suggests that Catalunya was Baroque despite itself; a reading that, from the 19th century on - when it is decided that all negative content about Baroque should be struck from the record in order to transform it into a consciously commercial and urban logo - makes implicit that any reflection on such content or Baroque itself will be schizophrenic and paradoxical. Right up to this day. Though the (always Late-) Baroque style was present in buildings, embellishments and paintings, it however did not have an official environment in which to expand and legitimate itself, nor urban spaces in which to extend its setup (although in Tortosa, Girona, and other cities there were important Baroque features). The Baroque style was especially evident in rural churches, but as a result of the occupation of principle Catalan plazas - particularly by the Bourbon crown of Castile - principal architectonic realizations were castles and military forts, like the castle of Montjuic or the military Citadel in Barcelona. Public Baroque buildings hardly existed: The Gothic ones were already present and there was little necessity for new ones. At the same time, there was more money in the private sphere than in the public for building, so Baroque programs were more subject to family representation than to the strictly political. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Vol138no10 Jul2017
Text of Resolutions passed by the General Council of the Theosophical Society Freedom of Thought As the Theosophical Society has spread far and wide over the world, and as members of all religions have become members of it without surrendering the special dogmas, teachings and beliefs of their re- spective faiths, it is thought desirable to emphasize the fact that there is no doctrine, no opinion, by whomsoever taught or held, that is in any way binding on any member of the Society, none which any member is not free to accept or reject. Approval of its three Objects is the sole condition of membership. No teacher, or writer, from H. P. Blavatsky onwards, has any authority to impose his or her teachings or opinions on members. Every member has an equal right to follow any school of thought, but has no right to force the choice on any other. Neither a candidate for any office nor any voter can be rendered ineligible to stand or to vote, because of any opinion held, or because of membership in any school of thought. Opinions or beliefs neither bestow privileges nor inflict penalties. The Members of the General Council earnestly request every member of the Theosophical Society to maintain, defend and act upon these fundamental principles of the Society, and also fearlessly to exercise the right of liberty of thought and of expression thereof, within the limits of courtesy and consideration for others. Freedom of the Society The Theosophical Society, while cooperating with all other bodies whose aims and activities make such cooperation possible, is and must remain an organization entirely independent of them, not committed to any objects save its own, and intent on developing its own work on the broadest and most inclusive lines, so as to move towards its own goal as indicated in and by the pursuit of those objects and that Divine Wisdom which in the abstract is implicit in the title ‘The Theosophical Society’. -
Student Identifier
Field Field Description Field Field Nr. Abbrev'n Length 1 Record type indicator RECID 5 2 HESA institution identifier INSTID 4 3 Campus identifier CAMPID 1 4 Student identifier HUSID 13 5 Scottish candidate number SCOTVEC 9 6 FE student marker FESTUMK 1 7 Family name SURNAME 40 8 Forenames FNAMES 40 9 Family name on 16th birthday SNAME16 40 10 Date of birth BIRTHDTE 10 11 Gender GENDER 1 12 Domicile DOMICILE 4 13 Nationality NATION 4 14 Ethnicity ETHNIC 2 15 Disability allowance DISALL 1 16 Disability DISABLE 2 17 Additional support band ADSPBAND 2 18 Not used LASTINST 7 19 Year left last institution YRLLINST 4 20 Not used QUALENT1 2 21 Highest qualification on entry QUALENT2 2 22 Not used QSTAT 1 23 Not used. ALEVPTS 2 24 Not used. HIGHPTS 2 25 Occupation code OCCCODE 4 26 Date of commencement of programme COMDATE 10 27 New entrant to HE ENTRYCDE 1 28 Special students SPCSTU 1 29 Teacher reference number TREFNO 9 30 Year of student on this programme YEARSTU 2 31 Term time accommodation TTACCOM 1 32 Not used FINYM 1 33 Reason for leaving institution/completing programme RSNLEAVE 2 34 Completion status CSTAT 1 35 Date left institution or completed the programme of study DATELEFT 10 36 Good standing marker PROGRESS 1 37 Qualification obtained 1 QUAL1 2 38 Qualification obtained 2 QUAL2 2 39 Classification CLASS 2 40 Programme of study title PTITLE 80 41 General qualification aim of student QUALAIM 2 42 FE general qualification aim of student FEQAIM 8 43 Subject(s) of qualification aim SBJQA1 6 44 Subject of qualification aim 2 SBJQA2 4 -
A Selective Study of the Writings of Kafka, Kubin, Meyrink, Musil and Schnitzler
_________________________________________________________________________Swansea University E-Theses The literary dream in German Central Europe, 1900-1925: A selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler. Vrba, Marya How to cite: _________________________________________________________________________ Vrba, Marya (2011) The literary dream in German Central Europe, 1900-1925: A selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42396 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ The Literary Dream in German Central Europe, 1900-1925 A Selective Study of the Writings of Kafka, Kubin, Meyrink, Musil and Schnitzler Mary a Vrba Thesis submitted to Swansea University in fulfilment of the requirements for the Degree of Doctor of Philosophy Department of Modern Languages Swansea University 2011 ProQuest Number: 10798104 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
The Symbolic Form of Architecture
THE SYMBOLIC FORM OF ARCHITECTURE An investigation into its philosophical foundations and a discussion on the development of the perception of architectural form by modern theoreticians and symbolist architects by Scott Rimmer Thesis submitted to the Faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Architecture APPROVED BY: Hans Christian Rott, Chairman Maria Karvouni, Member Markus Breitschmid, Member April 28, 1997 Alexandria, Virginia Copyright © 1996, Scott C. Rimmer THE SYMBOLIC FORM OF ARCHITECTURE An investigation into its philosophical foundations and a discussion on the development of the perception of architectural form by modern theoreticians and symbolist architects by Scott Rimmer Chairman: Hans Christian Rott, Graduate School of Architecture (ABSTRACT) This thesis investigates the concept of the symbolic form of architecture. It first focuses on the philosophical foundations for this concept in the works of Ernst Cassirer, Immanuel Kant, Conrad Fiedler, and Theodor Adorno. Then, the development of the modern perception of form in architectural theoreticians, where “modern” architectural theory evolved from an analogical state into a symbolic state, is examined: Karl Bötticher’s concept of a Junktur and his attempt to transcend the presumed dichotomy in architecture between ornamentation and form is discussed; Gottfried Semper’s concept of style and Alois Riegl’s concept of motif are presented as reactions against what they saw as the mechanistic reliance on structure as definitive of form in architecture; Louis Sullivan’s ornamentation is discussed as an attempt to integrate structure and ornamentation into a morphological whole; Otto Wagner’s attempt to purge architecture from analogical responses through a strictly constructional basis for ornamentation is presented; and Adolf Loos’ dismissal of decorative ornamentation, since it is an impediment towards true aesthetic judgment, is examined. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Naval Dockyards Society
20TH CENTURY NAVAL DOCKYARDS: DEVONPORT AND PORTSMOUTH CHARACTERISATION REPORT Naval Dockyards Society Devonport Dockyard Portsmouth Dockyard Title page picture acknowledgements Top left: Devonport HM Dockyard 1951 (TNA, WORK 69/19), courtesy The National Archives. Top right: J270/09/64. Photograph of Outmuster at Portsmouth Unicorn Gate (23 Oct 1964). Reproduced by permission of Historic England. Bottom left: Devonport NAAFI (TNA, CM 20/80 September 1979), courtesy The National Archives. Bottom right: Portsmouth Round Tower (1843–48, 1868, 3/262) from the north, with the adjoining rich red brick Offices (1979, 3/261). A. Coats 2013. Reproduced with the permission of the MoD. Commissioned by The Historic Buildings and Monuments Commission for England of 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, ‘English Heritage’, known after 1 April 2015 as Historic England. Part of the NATIONAL HERITAGE PROTECTION COMMISSIONS PROGRAMME PROJECT NAME: 20th Century Naval Dockyards Devonport and Portsmouth (4A3.203) Project Number 6265 dated 7 December 2012 Fund Name: ARCH Contractor: 9865 Naval Dockyards Society, 44 Lindley Avenue, Southsea, PO4 9NU Jonathan Coad Project adviser Dr Ann Coats Editor, project manager and Portsmouth researcher Dr David Davies Editor and reviewer, project executive and Portsmouth researcher Dr David Evans Devonport researcher David Jenkins Project finance officer Professor Ray Riley Portsmouth researcher Sponsored by the National Museum of the Royal Navy Published by The Naval Dockyards Society 44 Lindley Avenue, Portsmouth, Hampshire, PO4 9NU, England navaldockyards.org First published 2015 Copyright © The Naval Dockyards Society 2015 The Contractor grants to English Heritage a non-exclusive, transferable, sub-licensable, perpetual, irrevocable and royalty-free licence to use, copy, reproduce, adapt, modify, enhance, create derivative works and/or commercially exploit the Materials for any purpose required by Historic England. -
Signal Hill National Historic Park
Newfoundland Signal Hill National Historic Park o o o o S2 o r m D Brief History Signal Hill, a natural lookout commanding theapproachesto St. John's harbour played a significant role in the history of Newfound land. Although the island became a military stronghold in the 1790's, Vikings probably landed as early as the 10th century, when they were carried there by wind and current. Later, the island's existence was common knowledge among European fishermen, who called the land on their maps Bacca- laos (cod) in tribute to the silvery fish which drew them across the Atlantic Ocean. Fishing expeditions were greatly encour aged by the voyages of exploration at the end of the 15th century. John Cabot from England in 1497 and 1498, and Jacgues Cartier, from France in 1534, acclaimed the natural wealth of the Grand Banks off New foundland. As the fishing industry grew its methods changed. Fleets had been leaving Europe in the spring and returning in the autumn, but in the 16th century some fishermen began to winter in Newfoundland, building smaii settlements along the coast. The was used as a signalling station. To aiert 1713), France was permitted to continue French settled around Placentia and the the town, cannons were fired at the ap fishing off Newfoundland, but the island English near St. John's. Even without the proach of enemy or friendly ships heading became England's property. support of their governments these first for St. John's or neighbouring Quidi Vidi. During the Seven Years' War between colonists felt the areas they occupied be Unfortunately the warning system and France and England (1756-63), France ex longed to their countries and they under new defences proved ineffective against perienced a number of severe reverses in took to fortify their settlements.