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The human body has been used as both a model and metaphor in architecture since antiquity. This book explores how it has been an inspiration for the exterior form of architectural colossi through the years. It considers the body as a source of architectural and artistic representation and in doing so explores the results of such practices in colossal sculptures and architectural praxis within a philosophical discourse of space, time and media. Architectural Colossi and the Human Body discusses the role of Platonic and Cartesian philosophy and how philosophers such as Heidegger and Merleau-Ponty, and theoreticians such as Frascari and Pallasmaa, have seen, described and analysed the human body and the role of architecture and perception. Drawing upon three key case studies and by employing theoretical ideas of Venturi and others, this book will provide an understanding of the role of anthromorphism and the relation and use of the human body with reference to selected architects and artists.
How does the moving, dancing body engage with the materials, textures, atmospheres, and affects of the sites through which we move and in which we live, work and play? How might embodied movement practice explore some of these relations and bring us closer to the complexities of sites and lived environments? This book brings together perspectives from site dance, phenomenology, and new materialism to explore and develop how ‘site-based body practice’ can be employed to explore synergies between material bodies and material sites. Employing practice-as-research strategies, scores, tasks and exercises the book presents a number of suggestions for engaging with sites through the moving body and offers critical reflection on the potential enmeshments and entanglements that emerge as a result. The theoretical discussions and practical explorations presented will appeal to researchers, movement practitioners, artists, academics and individuals interested in exploring their lived environments through the moving body and the entangled human-nonhuman relations that emerge as a result.
How does industrial design operate outside of capitalist consumer culture? Designing for Socialist Need assembles a detailed picture of industrial design practice in the socialist German Democratic Republic (GDR). Drawing on much previously unexplored material from a wide variety of sources, it not only maps out some of the ideological, institutional and economic contexts within which GDR design functioned, it also critically reconstructs the designers’ aims and perspectives in order to argue that they shared a profoundly socially responsible approach to design. By focusing on their ideas and approaches, this volume attends to the previously unacknowledged intellectual and practical richness of GDR design culture and demonstrates that it can provide pertinent insights not only for scholars of GDR history or German design, but also for contemporary design practitioners, theorists and educators with an interest in sustainability in design.
**Finalist for the Thought and Criticism category of the FAD Awards 2019** This book traces the ideal of total environmental control through the intellectual and geographic journey of Knud Lönberg- Holm, a forgotten Danish architect who promoted a unique systemic, cybernetic, and ecological vision of architecture in the 1930s. A pioneering figure of the new objectivity and international constructivism in Germany in 1922 and a celebrated peer of radical figures in De Stijl, the Bauhaus, and Russian constructivism, when he emigrated to Detroit in 1923 he introduced the vanguard theory of productivism through his photography, essays, designs, and pedagogy. By following Lönberg- Holm’s ongoing matrix of relations until the postwar era with the European vanguards in CIAM and former members of the Structural Study Associates (SSA), especially Fuller, Frederick Kiesler, and C. Theodore Larson, this study shows how their definition of building as a form of environmental control anticipated the contemporary disciplines of industrial ecology, industrial metabolism, and energy accounting.
In this book, Tsiambaos redefines the ground-breaking theory of Greek architect and town planner Constantinos A. Doxiadis (The Form of Space in Ancient Greece) and moves his thesis away from antiquity and ancient architecture, instead arguing that it can only be understood as a theory founded in modernity. In light of this, the author explores Doxiadis’ theory in relation to the work of the controversial Greek architect Dimitris Pikionis. This parallel investigation of the philosophical content of Doxiadis’ theory and the design principles of Pikionis’ work establishes a new frame of reference and creates a valuable and original interpretation of their work. Using innovative cross-disciplinary tools and methods which expand the historical boundaries of interwar modernism, the book restructures the ground of an alternative modernity that looks towards the future through a mirror that reflects the ancient past. From Doxiadis’ Theory to Pikionis’ Work: Reflections of Antiquity in Modern Architecture is fascinating reading for all scholars and students with an interest in modernism and antiquity, the history and theory of architecture, the history of ideas and aesthetics or town planning theory and design.
Modernity has opened the way to a greater pluralism of forms. But even if architecture is a cultural phenomenon, that does not mean it is a product of fashion.Its principles are enduring and its foundations less tangible than the novice who tried to shake them would realize. To start that stretch towards the foundations one must first acquire the basics: to know the permanence of the architectural field and appreciate the certainties tested by time. This book will act as a guide for the reaching hand. The first part explores the mediums of compositional architecture and the relationships between space, light, and place. Four or five thousand years of history demonstrate the persistence of certain fundamental principles intrinsic to a discipline that organizes, in three dimensions, the vital space of man. In the second part, the author provides certain keys to manage the relationship between shape, materials, and construction – recalling that the need to build, by itself, has never been enough to design the form of the house or the city. Neither encyclopedia nor dictionary, this book seeks to fill a gap in light of our time: it serves as a contemporary introduction to architectural design and criticism. Following the praise of critics, the first edition has been adopted as a reference text in numerous schools and translated into several languages. This new translation from the 3rd French edition offers revised and reworked content with an additional three chapters dedicated to tectonics.
Healing Spaces, Modern Architecture, and the Body brings together cutting-edge scholarship examining the myriad ways that architects, urban planners, medical practitioners, and everyday people have applied modern ideas about health and the body to the spaces in which they live, work, and heal. The book’s contributors explore North American and European understandings of the relationship between physical movement, bodily health, technological innovation, medical concepts, natural environments, and architectural settings from the nineteenth century through the heyday of modernist architectural experimentation in the 1920s and 1930s and onward into the 1970s. Not only does the book focus on how professionals have engaged with the architecture of healing and the body, it also explores how urban dwellers have strategized and modified their living environments themselves to create a kind of vernacular modernist architecture of health in their homes, gardens, and backyards. This new work builds upon a growing interdisciplinary field incorporating the urban humanities, geography, architectural history, the history of medicine, and critical visual studies that reflects our current preoccupation with the body and its corresponding therapeutic culture.
Claes Oldenburg’s commitment to familiar objects has shaped accounts of his career, but his associations with Pop art and postwar consumerism have overshadowed another crucial aspect of his work. In this revealing reassessment, Katherine Smith traces Oldenburg’s profound responses to shifting urban conditions, framing his enduring relationship with the city as a critical perspective and conceiving his art as urban theory. Smith argues that Oldenburg adapted lessons of context, gleaned from New York’s changing cityscape in the late 1950s, to large-scale objects and architectural plans. By examining disparate projects from New York to Los Angeles, she situates Oldenburg’s innovations in local geographies and national debates. In doing so, Smith illuminates patterns of urbanization through the important contributions of one of the leading artists in the United States.
More than five hundred computer images capture the anatomy of the human body, revealing the construction and workings of each system of the body and rebuilding the body from the molecular level up.