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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
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Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
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books
books
Publication:
April 2002, Cambridge, Mass.
April 2002, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
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books
books
Title:
The minimum dwelling
The minimum dwelling
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Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the(...)
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Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the(...)
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The minimum dwelling
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$96.00
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Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the twentieth century. "The minimum dwelling" is not just a book on architecture, but also a blueprint for a new way of living. It calls for a radical rethinking of domestic space and of the role of modern architecture in the planning, design, and construction of new dwelling types for the proletariat. Teige shows how Gropius, Le Corbusier, Mies van der Rohe, and others designed little more than new versions of baroque palaces, mainly for the new financial aristocracy. Teige envisioned the minimum dwelling not as a reduced version of a bourgeois apartment or rural cottage, but as a wholly new dwelling type built on the cooperation of architects, sociologists, economists, health officials, physicians, social workers, politicians, and trade unionists. The book covers many subjects that are still of great relevance. Of particular interest are Teige’s rejection of traditional notions of the kitchen as the core of family-centered plans and of marriage as the foundation of modern cohabitation. He describes alternative lifestyles and new ways of cohabitation of sexes, generations, and classes. The detailed programmatic chapters on collective housing remain far ahead of current thinking, and his comments on collective dwelling presage communal living experiments of the 1960s and 1970s, as well as the communal facilities in contemporary condominium buildings and retirement communities. Translated and introduced by Eric Dluhosch.
The minimum dwelling
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$96.00
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Karel Teige (1900–1951), one of the most important figures of avant-garde modernism of the 1920s and 1930s, influenced virtually every area of art, design, and urban thinking in his native Czechoslovakia. His "Minimum dwelling", originally published in Czech in 1932, and appearing now for the first time in English, is one of the landmark architectural books of the twentieth century. "The minimum dwelling" is not just a book on architecture, but also a blueprint for a new way of living. It calls for a radical rethinking of domestic space and of the role of modern architecture in the planning, design, and construction of new dwelling types for the proletariat. Teige shows how Gropius, Le Corbusier, Mies van der Rohe, and others designed little more than new versions of baroque palaces, mainly for the new financial aristocracy. Teige envisioned the minimum dwelling not as a reduced version of a bourgeois apartment or rural cottage, but as a wholly new dwelling type built on the cooperation of architects, sociologists, economists, health officials, physicians, social workers, politicians, and trade unionists. The book covers many subjects that are still of great relevance. Of particular interest are Teige’s rejection of traditional notions of the kitchen as the core of family-centered plans and of marriage as the foundation of modern cohabitation. He describes alternative lifestyles and new ways of cohabitation of sexes, generations, and classes. The detailed programmatic chapters on collective housing remain far ahead of current thinking, and his comments on collective dwelling presage communal living experiments of the 1960s and 1970s, as well as the communal facilities in contemporary condominium buildings and retirement communities. Translated and introduced by Eric Dluhosch.
Form:
books
books
Publication:
May 2002, Cambridge, Mass.
May 2002, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
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books
books
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$79.95
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"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the(...)
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"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
April 2002, Cambridge, Massachusetts
April 2002, Cambridge, Massachusetts
Title:
The portfolio and the diagram : architecture, discourse, and modernity in America
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"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the portfolio and the emergence of the discourse of the diagram. The Beaux Arts-trained architects had fashioned their discipline through the meticulous object-centered images of the portfolio. The discourse of the diagram provided a new range of possibility in the architect’s relation to words, images, and buildings. More than the diagram itself, more than the province of narrow-minded functionalists, the discourse of the diagram is a complex formation of texts, concepts, and modes of representation. Concerned less with constructing a new kind of modernism than with understanding the boundaries and structures of modernity, the book is a history of modern architecture as a discursive practice and its striving to become a viable discipline.
The portfolio and the diagram : architecture, discourse, and modernity in America
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$79.95
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Summary:
"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the portfolio and the emergence of the discourse of the diagram. The Beaux Arts-trained architects had fashioned their discipline through the meticulous object-centered images of the portfolio. The discourse of the diagram provided a new range of possibility in the architect’s relation to words, images, and buildings. More than the diagram itself, more than the province of narrow-minded functionalists, the discourse of the diagram is a complex formation of texts, concepts, and modes of representation. Concerned less with constructing a new kind of modernism than with understanding the boundaries and structures of modernity, the book is a history of modern architecture as a discursive practice and its striving to become a viable discipline.
Form:
books
books
Publication:
April 2002, Cambridge, Massachusetts
April 2002, Cambridge, Massachusetts
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$40.50
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ROAM is an unconventional academic reader, looking at 'the Aesthetics of Mobility'. Under five themes - narrative, representation, glocalisation, telematics, velocity - ideas around what it is to 'roam' are explored, from theoritical texts to magazine style snippets of information. Against an architectural understanding of urban spaces and mobility. ROAM also engages with(...)
$40.50
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ROAM is an unconventional academic reader, looking at 'the Aesthetics of Mobility'. Under five themes - narrative, representation, glocalisation, telematics, velocity - ideas around what it is to 'roam' are explored, from theoritical texts to magazine style snippets of information. Against an architectural understanding of urban spaces and mobility. ROAM also engages with(...)
Title:
Reader on the aesthetics of mobility
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ROAM is an unconventional academic reader, looking at 'the Aesthetics of Mobility'. Under five themes - narrative, representation, glocalisation, telematics, velocity - ideas around what it is to 'roam' are explored, from theoritical texts to magazine style snippets of information. Against an architectural understanding of urban spaces and mobility. ROAM also engages with discourses from art, cultural studies, design and politics. In line with its unconventional approach, the texts in ROAM are designed to be read at different speeds, so that design projects are interspliced amongst essays and soundbites, provoking the reader with new views about our increasingly mobilised society.
Reader on the aesthetics of mobility
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ROAM is an unconventional academic reader, looking at 'the Aesthetics of Mobility'. Under five themes - narrative, representation, glocalisation, telematics, velocity - ideas around what it is to 'roam' are explored, from theoritical texts to magazine style snippets of information. Against an architectural understanding of urban spaces and mobility. ROAM also engages with discourses from art, cultural studies, design and politics. In line with its unconventional approach, the texts in ROAM are designed to be read at different speeds, so that design projects are interspliced amongst essays and soundbites, provoking the reader with new views about our increasingly mobilised society.
Form:
books
books
Publication:
January 1900, London
January 1900, London
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Title:
Essai sur l'art
Essai sur l'art
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Si aujourd'hui, grâce à des traductions tardives, parues jusqu'à un siècle après leur version originale, Riegl et Panofsky ont enfin été intégrés en France dans l'histoire et la réflexion sur l'art, il est stupéfiant de constater que l'oeuvre qui est à l'origine de leur relativisme historique et de leur conception des arts visuels comme mode créatif et spécifique de la(...)
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Si aujourd'hui, grâce à des traductions tardives, parues jusqu'à un siècle après leur version originale, Riegl et Panofsky ont enfin été intégrés en France dans l'histoire et la réflexion sur l'art, il est stupéfiant de constater que l'oeuvre qui est à l'origine de leur relativisme historique et de leur conception des arts visuels comme mode créatif et spécifique de la(...)
Title:
Essai sur l'art
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Si aujourd'hui, grâce à des traductions tardives, parues jusqu'à un siècle après leur version originale, Riegl et Panofsky ont enfin été intégrés en France dans l'histoire et la réflexion sur l'art, il est stupéfiant de constater que l'oeuvre qui est à l'origine de leur relativisme historique et de leur conception des arts visuels comme mode créatif et spécifique de la connaissance demeure totalement ignorée dans notre pays. C'est assez dire la lacune que vient combler la traduction de trois essais sur l'art de Fiedler, respectivement parus en en 1876, 1878, et 1887. Ceux-ci ne mettent pas seulement en perspective critique l'approche de l'art^par la philosophie antique, puis moderne : ils éclairent aussi les problématiques de notre époque dans les deux domaines de la peinture et de l'architecture.
Essai sur l'art
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Si aujourd'hui, grâce à des traductions tardives, parues jusqu'à un siècle après leur version originale, Riegl et Panofsky ont enfin été intégrés en France dans l'histoire et la réflexion sur l'art, il est stupéfiant de constater que l'oeuvre qui est à l'origine de leur relativisme historique et de leur conception des arts visuels comme mode créatif et spécifique de la connaissance demeure totalement ignorée dans notre pays. C'est assez dire la lacune que vient combler la traduction de trois essais sur l'art de Fiedler, respectivement parus en en 1876, 1878, et 1887. Ceux-ci ne mettent pas seulement en perspective critique l'approche de l'art^par la philosophie antique, puis moderne : ils éclairent aussi les problématiques de notre époque dans les deux domaines de la peinture et de l'architecture.
Form:
books
books
Publication:
May 2002, Besançon
May 2002, Besançon
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Title:
La production de l'espace
La production de l'espace
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Les écrits descriptifs d'espaces, de paysages, de campagnes et de villes ne se comptent plus... Sont-ils une connaissance de l'espace? Non, répond Lefèbvre qui tente ici de montrer l'unité théorique entre l'espace physique, l'espace mental et l'espace social. Chaque société produit un espace, le sien. La nôtre, forme du néo-capitalisme, a produit l'espace abstrait qui(...)
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Les écrits descriptifs d'espaces, de paysages, de campagnes et de villes ne se comptent plus... Sont-ils une connaissance de l'espace? Non, répond Lefèbvre qui tente ici de montrer l'unité théorique entre l'espace physique, l'espace mental et l'espace social. Chaque société produit un espace, le sien. La nôtre, forme du néo-capitalisme, a produit l'espace abstrait qui(...)
Title:
La production de l'espace
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Les écrits descriptifs d'espaces, de paysages, de campagnes et de villes ne se comptent plus... Sont-ils une connaissance de l'espace? Non, répond Lefèbvre qui tente ici de montrer l'unité théorique entre l'espace physique, l'espace mental et l'espace social. Chaque société produit un espace, le sien. La nôtre, forme du néo-capitalisme, a produit l'espace abstrait qui contient le " monde de la marchandise ", sa logique et ses stratégies à l'échelle mondiale en même temps que la puissance de l'argent et celle de l'Etat politique. Cet espace abstrait s'appuie sur les énormes réseaux des banques, des centres d'affaires, etc. Et aussi l'espace des autoroutes, des aérodromes, des centres d'informations et de communication. Dans cet espace, la ville, berceau de l'accumulation, lieu de la richesse, sujet de l'histoire, centre de l'espace historique a éclaté. Il s'agit d'en apprécier les conséquences... Il y a vingt-cinq ans paraissait la première édition de ce livre, devenu aujourd'hui un classique tant en France qu'à l'étranger où cet ouvrage a été beaucoup traduit.
La production de l'espace
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Les écrits descriptifs d'espaces, de paysages, de campagnes et de villes ne se comptent plus... Sont-ils une connaissance de l'espace? Non, répond Lefèbvre qui tente ici de montrer l'unité théorique entre l'espace physique, l'espace mental et l'espace social. Chaque société produit un espace, le sien. La nôtre, forme du néo-capitalisme, a produit l'espace abstrait qui contient le " monde de la marchandise ", sa logique et ses stratégies à l'échelle mondiale en même temps que la puissance de l'argent et celle de l'Etat politique. Cet espace abstrait s'appuie sur les énormes réseaux des banques, des centres d'affaires, etc. Et aussi l'espace des autoroutes, des aérodromes, des centres d'informations et de communication. Dans cet espace, la ville, berceau de l'accumulation, lieu de la richesse, sujet de l'histoire, centre de l'espace historique a éclaté. Il s'agit d'en apprécier les conséquences... Il y a vingt-cinq ans paraissait la première édition de ce livre, devenu aujourd'hui un classique tant en France qu'à l'étranger où cet ouvrage a été beaucoup traduit.
Form:
books
books
Publication:
February 2000, Paris
February 2000, Paris
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Title:
The struggle for modernism : architecture, landscape architecture, and city planning at Harvard
The struggle for modernism : architecture, landscape architecture, and city planning at Harvard
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A history of modernism in the teaching of architecture, landscape architecture, and city planning at Harvard. This book tells how modernism evolved in the celebrated design school in America. Tracing developments at Harvard, whose Graduate School of Design was home from 1937 to 1952 of Bauhaus founder Walter Gropius, it shows that America had initiated its own modern(...)
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A history of modernism in the teaching of architecture, landscape architecture, and city planning at Harvard. This book tells how modernism evolved in the celebrated design school in America. Tracing developments at Harvard, whose Graduate School of Design was home from 1937 to 1952 of Bauhaus founder Walter Gropius, it shows that America had initiated its own modern(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
September 2001, New York / London
September 2001, New York / London
Title:
The struggle for modernism : architecture, landscape architecture, and city planning at Harvard
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$87.00
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A history of modernism in the teaching of architecture, landscape architecture, and city planning at Harvard. This book tells how modernism evolved in the celebrated design school in America. Tracing developments at Harvard, whose Graduate School of Design was home from 1937 to 1952 of Bauhaus founder Walter Gropius, it shows that America had initiated its own modern agenda before the arrival of the European modernist ideology. Anthony Alofsin is Roland Roessner Centennial Professor of Architecture at the University of Texas at Austin.
The struggle for modernism : architecture, landscape architecture, and city planning at Harvard
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$87.00
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A history of modernism in the teaching of architecture, landscape architecture, and city planning at Harvard. This book tells how modernism evolved in the celebrated design school in America. Tracing developments at Harvard, whose Graduate School of Design was home from 1937 to 1952 of Bauhaus founder Walter Gropius, it shows that America had initiated its own modern agenda before the arrival of the European modernist ideology. Anthony Alofsin is Roland Roessner Centennial Professor of Architecture at the University of Texas at Austin.
Form:
books
books
Publication:
September 2001, New York / London
September 2001, New York / London
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Title:
Some assembly required
Some assembly required
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$25.95
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In this new collection, Sorkin reviews the state of contemporary architecture and surveys the dramatic changes in the urban environment of the past decade. From New York to New Delhi, from Shanghai to Cairo, Sorkin offers a sweeping assessment of the impact of globalization, environmental degradation, electronic media, rapid growth, and the legacies of modernist planning.(...)
$25.95
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Summary:
In this new collection, Sorkin reviews the state of contemporary architecture and surveys the dramatic changes in the urban environment of the past decade. From New York to New Delhi, from Shanghai to Cairo, Sorkin offers a sweeping assessment of the impact of globalization, environmental degradation, electronic media, rapid growth, and the legacies of modernist planning.(...)
Title:
Some assembly required
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$25.95
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Summary:
In this new collection, Sorkin reviews the state of contemporary architecture and surveys the dramatic changes in the urban environment of the past decade. From New York to New Delhi, from Shanghai to Cairo, Sorkin offers a sweeping assessment of the impact of globalization, environmental degradation, electronic media, rapid growth, and the legacies of modernist planning. Whether laying out, manifesto-like, eleven necessary tasks for urban design, providing a fresh take on the Disneyfication of Times Square, grappling with sprawl, or blasting the nostalgic prescriptions of "new urbanist" communities, Sorkin makes a compelling argument for an architecture and urbanism firmly grounded in both artistic expression and social purpose.
Some assembly required
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$25.95
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In this new collection, Sorkin reviews the state of contemporary architecture and surveys the dramatic changes in the urban environment of the past decade. From New York to New Delhi, from Shanghai to Cairo, Sorkin offers a sweeping assessment of the impact of globalization, environmental degradation, electronic media, rapid growth, and the legacies of modernist planning. Whether laying out, manifesto-like, eleven necessary tasks for urban design, providing a fresh take on the Disneyfication of Times Square, grappling with sprawl, or blasting the nostalgic prescriptions of "new urbanist" communities, Sorkin makes a compelling argument for an architecture and urbanism firmly grounded in both artistic expression and social purpose.
Form:
books
books
Publication:
November 2001, Minneapolis
November 2001, Minneapolis
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Price:
$35.25
(available to order)
Summary:
Framed by Terry Smith's introduction, the essays in this book focus on two kinds of strangeness involved in experiencing visual images in the modern era. The first, explored in the book's first half, involves the appearance of oddities or phantasmagoria in early photographs and cinema. The second type of strangeness involves art from marginalized groups and indigenous(...)
$35.25
(available to order)
Summary:
Framed by Terry Smith's introduction, the essays in this book focus on two kinds of strangeness involved in experiencing visual images in the modern era. The first, explored in the book's first half, involves the appearance of oddities or phantasmagoria in early photographs and cinema. The second type of strangeness involves art from marginalized groups and indigenous(...)
Title:
Impossible presence : surface and screen in the photographic era
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$35.25
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Summary:
Framed by Terry Smith's introduction, the essays in this book focus on two kinds of strangeness involved in experiencing visual images in the modern era. The first, explored in the book's first half, involves the appearance of oddities or phantasmagoria in early photographs and cinema. The second type of strangeness involves art from marginalized groups and indigenous peoples, and the communicative formations that result from the trafficking of images between people from vastly different cultures.
Impossible presence : surface and screen in the photographic era
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$35.25
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Summary:
Framed by Terry Smith's introduction, the essays in this book focus on two kinds of strangeness involved in experiencing visual images in the modern era. The first, explored in the book's first half, involves the appearance of oddities or phantasmagoria in early photographs and cinema. The second type of strangeness involves art from marginalized groups and indigenous peoples, and the communicative formations that result from the trafficking of images between people from vastly different cultures.
Form:
books
books
Publication:
September 2001, Chicago
September 2001, Chicago
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Price:
$45.95
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Summary:
In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that(...)
$45.95
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Summary:
In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that(...)
Title:
White walls, designer dresses : the fashioning of modern architecture
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In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing -- the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design. Wigley follows the trajectory of this key subtext by closely reading the statements and designs of most of the protagonists, demonstrating that it renders modern architecture's relationship with the psychosexual economy of fashion much more ambiguous than the architects' endlessly repeated rejections of fashion would suggest. Indeed, Wigley asserts, the very intensity of these rejections is a symptom of how deeply they are embedded in the world of clothing. By drawing on arguments about the relationship between clothing and architecture first formulated in the middle of the nineteenth century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture by transforming the status of the surface. "White Walls, Designer Dresses" shows how this seemingly incidental clothing logic actually organizes the detailed design of the modern building, dictating a system of polychromy, understood as a multicolored outfit. The familiar image of modern architecture as white turns out to be the effect of a historiographical tradition that has worked hard to suppress the color of the surfaces of the buildings that it describes. Wigley analyzes this suppression in terms of the sexual logic that invariably accompanies discussions of clothing and color, recovering those sensuously colored surfaces and the extraordinary arguments about clothing that were used to defend them.
White walls, designer dresses : the fashioning of modern architecture
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Summary:
In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing -- the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design. Wigley follows the trajectory of this key subtext by closely reading the statements and designs of most of the protagonists, demonstrating that it renders modern architecture's relationship with the psychosexual economy of fashion much more ambiguous than the architects' endlessly repeated rejections of fashion would suggest. Indeed, Wigley asserts, the very intensity of these rejections is a symptom of how deeply they are embedded in the world of clothing. By drawing on arguments about the relationship between clothing and architecture first formulated in the middle of the nineteenth century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture by transforming the status of the surface. "White Walls, Designer Dresses" shows how this seemingly incidental clothing logic actually organizes the detailed design of the modern building, dictating a system of polychromy, understood as a multicolored outfit. The familiar image of modern architecture as white turns out to be the effect of a historiographical tradition that has worked hard to suppress the color of the surfaces of the buildings that it describes. Wigley analyzes this suppression in terms of the sexual logic that invariably accompanies discussions of clothing and color, recovering those sensuously colored surfaces and the extraordinary arguments about clothing that were used to defend them.
Form:
books
books
Publication:
October 2001, Cambridge, Mass.
October 2001, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
