Please post discussion to this list.
Thanks.
Howard
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From: churayj@xxxxxxxxxx ()
Subject: cubist architecture
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Date: Sat, 17 Oct 1992 06:24:09 GMT
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Hi guys. I've been reading the past few hundreds of letters you've been
writing to each other, and I'd like to hear what some of you think about
the transformation of a cubist painting into an "architectonic form."
(This project was just assigned here at Yale, undergrad, not the
big, heavyweight grad school, by Judy DiMaio.)
She (and Colin Rowe) argued that some of Corbu's works represent ambiguous
and "space-destroying" aspects found in Leger's paintings. Some of my
classmates found it impossible (1) because painting is 2D, and 3D can't
imply ambiguous space because it IS space, and (2) because they thought
any transformation did violence to the perfection of an artist's work.
Personally, I believe that the essence of all art is, simply, the
expression
of ideas. Therefore, finding an idea expressed in a painting and
expressing
it differently in architecture is perfectly non-violent, and somewhat
beautiful thing. However, I found that transforming the idea of a
space-destroying composition inherently antagonistic to architecture.
I imagined a 3D labyrinth with lots of functionless architecture elements
which would all lead to a spatial confusion similar to the visual confusion
I get from an analytic cubist painting. In other words, no one would
want to live there.
So here are my points for discussion:
Can the ideas of cubism be expressed architecturally?
Does the Villa Stein at Garches (LeCorbusier) really correlate so
exactly to Leger's "Three Faces"?
Would anyone want to live in a space that destroyed space?
The essay to read, by the way, is Colin Rowe's "Literal and Phenomenal
Transparency."
Thanks.
Howard
- - The original note follows - -
Newsgroups: alt.architecture
Path: psuvm!atlantis.psu.edu!psuvax1!uwm.edu!cs.utexas.edu!qt.cs.utexas.edu!
yale.edu!news.yale.edu!morse-college-kstar-node.net.yale.edu!user
From: churayj@xxxxxxxxxx ()
Subject: cubist architecture
Message-ID: <churayj-171092021021@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Sender: news@xxxxxxxxxxxxx (USENET News System)
Nntp-Posting-Host: morse-college-kstar-node.net.yale.edu
Organization: Public Macs, Academic Computing, Yale University
Date: Sat, 17 Oct 1992 06:24:09 GMT
Lines: 35
Hi guys. I've been reading the past few hundreds of letters you've been
writing to each other, and I'd like to hear what some of you think about
the transformation of a cubist painting into an "architectonic form."
(This project was just assigned here at Yale, undergrad, not the
big, heavyweight grad school, by Judy DiMaio.)
She (and Colin Rowe) argued that some of Corbu's works represent ambiguous
and "space-destroying" aspects found in Leger's paintings. Some of my
classmates found it impossible (1) because painting is 2D, and 3D can't
imply ambiguous space because it IS space, and (2) because they thought
any transformation did violence to the perfection of an artist's work.
Personally, I believe that the essence of all art is, simply, the
expression
of ideas. Therefore, finding an idea expressed in a painting and
expressing
it differently in architecture is perfectly non-violent, and somewhat
beautiful thing. However, I found that transforming the idea of a
space-destroying composition inherently antagonistic to architecture.
I imagined a 3D labyrinth with lots of functionless architecture elements
which would all lead to a spatial confusion similar to the visual confusion
I get from an analytic cubist painting. In other words, no one would
want to live there.
So here are my points for discussion:
Can the ideas of cubism be expressed architecturally?
Does the Villa Stein at Garches (LeCorbusier) really correlate so
exactly to Leger's "Three Faces"?
Would anyone want to live in a space that destroyed space?
The essay to read, by the way, is Colin Rowe's "Literal and Phenomenal
Transparency."