Architecture and cubism

Author(s)

Bibliographic Information

Architecture and cubism

edited and with an introduction by Eve Blau and Nancy J. Troy ; essays by David Cottington ... [et al.]

Centre canadien d'architecture , MIT Press, c1997

  • : hc
  • : pb

Available at  / 31 libraries

Search this Book/Journal

Note

"Many of the essays in this book were originally presented at a colloquium organized by the Canadian Centre for Architecture."--Pref

Includes bibliographical references and index

Description and Table of Contents

Volume

: hc ISBN 9780262024228

Description

A fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief. In the first historically focused examination of the issue, the volume returns to the original site of cubist art in pre-World War I Europe and proceeds to examine the historical, theoretical, and socio-political relationships between avant-garde practices in painting, architecture, and other cultural forms, including poetry, landscape, and the decorative arts. The essays look at works produced in France, Germany, the Netherlands, and Czechoslovakia during the early decades of the twentieth century.Together, the essays show that although there were many points of intersection -- historical, metaphorical, theoretical, and ideological -- between cubism and architecture, there was no simple, direct link between them. Most often the connections between cubist painting and modern architecture were construed analogically, by reference to shared formal qualities such as fragmentation, spatial ambiguity, transparency, and multiplicity; or to techniques used in other media such as film, poetry, and photomontage. Cubist space itself remained two-dimensional; with the exception of Le Cobusiers work, it was never translated into the three dimensions of architecture. Cubism's significance for architecture also remained two-dimensional -- a method of representing modern spatial experience through the ordering impulses of art.Copublished with the Canadian Centre for Architecture/CentreCanadien d'Architecture

Table of Contents

  • The maison Cubiste and the meaning of modernism in pre-1914 France, David Cottington
  • the burden of Cubism - the French imprint on Czech architecture, 1910-1014, Irena Zantovska Murray
  • Cubism and the gothic tradition, Kevin D. Murphy
  • "architecture" in Leger's essays, 1913-1933, Robert L. Herbert
  • architecture of the Cubist poem, Jay Bochner
  • the cell in the city, Paul Overy
  • where are we?, Beatriz Colomina
  • unnatural acts - propositions for a new French garden, 1920-1930, Dorothee Imbert
  • Cubistic, Cubic and Cubist, Yve-Alain Bois
  • Jeanneret-Le Corbusier, painter-architect, Bruno Reichlin
  • anything but literal - Sigried Giedion and the reception of Cubism in Germany, Detlef Mertins.
Volume

: pb ISBN 9780262523288

Description

A fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief. In the first historically focused examination of the issue, the volume returns to the original site of cubist art in pre-World War I Europe and proceeds to examine the historical, theoretical, and socio-political relationships between avant-garde practices in painting, architecture, and other cultural forms, including poetry, landscape, and the decorative arts. The essays look at works produced in France, Germany, the Netherlands, and Czechoslovakia during the early decades of the twentieth century. Together, the essays show that although there were many points of intersection-historical, metaphorical, theoretical, and ideological-between cubism and architecture, there was no simple, direct link between them. Most often the connections between cubist painting and modern architecture were construed analogically, by reference to shared formal qualities such as fragmentation, spatial ambiguity, transparency, and multiplicity; or to techniques used in other media such as film, poetry, and photomontage. Cubist space itself remained two-dimensional; with the exception of Le Cobusiers work, it was never translated into the three dimensions of architecture. Cubism's significance for architecture also remained two-dimensional-a method of representing modern spatial experience through the ordering impulses of art. Copublished with the Canadian Centre for Architecture/CentreCanadien d'Architecture.

Table of Contents

  • The maison Cubiste and the meaning of modernism in pre-1914 France, David Cottington
  • the burden of Cubism - the French imprint on Czech architecture, 1910-1014, Irena Zantovska Murray
  • Cubism and the gothic tradition, Kevin D. Murphy
  • "architecture" in Leger's essays, 1913-1933, Robert L. Herbert
  • architecture of the Cubist poem, Jay Bochner
  • the cell in the city, Paul Overy
  • where are we?, Beatriz Colomina
  • unnatural acts - propositions for a new French garden, 1920-1930, Dorothee Imbert
  • Cubistic, Cubic and Cubist, Yve-Alain Bois
  • Jeanneret-Le Corbusier, painter-architect, Bruno Reichlin
  • anything but literal - Sigried Giedion and the reception of Cubism in Germany, Detlef Mertins.

by "Nielsen BookData"

Details

Page Top