By Gevork Hartoonian
Looking again over the 20th century, Hartoonian discusses the paintings of 3 significant architects: Peter Eisenman, Frank Gehry and Bernard Tschumi, in connection with their theoretical positions and historicizes present architecture within the context of the continued secularization of the myths surrounding the traditions of 19th century structure regularly, and, specifically, Gottfried Semper's discourse at the tectonic.
Providing a necessary contribution to the present debates surrounding architectural heritage and theory, this passionately written book makes precious analyzing for any architect.
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Additional info for Crisis of the Object: The Architecture of Theatricality
Schinkel’s theory also alludes to a shift of paradigm at work in architects” did indeed depart from the sense of beauty associated with the proportions of the body for the aesthetic of the sublime. In the context of the experience of modernity, the sublime was charged with psychological feelings of both joy and sorrow. A feeling for “play” was also invested in the aesthetic writings of the century, whose original intrusion into the world of art might have to do with the primeval struggle against not-yet-tamed nature.
In the main reading room of the library, the stone pedestals provide a base for iron columns that are shaped and detailed to simulate the flutes used in classical stone columns. 2 Eugène E. Viollet le Duc, project for a concert hall, 1866. 3 Henry Labrouste, Bibliothèque Ste-Geneviève, Paris, 1838–50. Reading Room. of the main reading room. The exposed truss of these arches juxtaposes structural logic with a classical sense of ornamentation: like a burdened row of leaves forming a cyma and abacus, the floral forms, cut out of the fabric of the truss, are meant to increase the inertia of iron.
The invention of daguerrotype in the midnineteenth century – a mechanical means of representing aspects of the world – encouraged some writers to see the invention of photography as a major motivation for Courbet’s Realism. ”11 Which is to say that a person posing in front of a camera is unconsciously aware of the gestural act and the theatricality of the effect. Such a theatrical atmosphere does not exist in representational painting where a presumed organic coherence between the subject matter and the final work overrides any unconscious impulses.