Journal articles on the topic 'Anthony Vidler'

El objetivo de este ensayo es re-abrir y re-leer Von Ledoux bis Le Corbusier de Emil Kaufmann. A pesar de que Panayotis Tournikiotis y Anthony Vidler lo incluyeran en sus respectivos discursos sobre la historiografía de la arquitectura moderna, se propone reconsiderar a su autor como un historiador pionero de la Ilustración. Tres ideas: el único protagonista del libro es Claude-Nicolas Ledoux; la arquitectura en torno a 1800 necesitaba una reevaluación; y la obra de Kaufmann se enmarca en un tiempo de búsqueda de una nueva ciencia del arte y una nueva historia de la arquitectura. Kaufmann es una figura de transición entre una generación previa de historiadores del arte que establecieron conceptos y principios fundamentales, y otros de su misma generación que se embarcaron en la tarea de considerar la arquitectura moderna como objeto de una investigación histórica. Abstract The aim of this essay is to re-open and re-read the content of Emil Kaufmann’s Von Ledoux bis Le Corbusier. Even though Panayotis Tournikiotis and Anthony Vidler included it in their discussions of the historiography of modern architecture, this investigation recommends a needed reconsideration of Emil Kaufmann as a pioneer historian of the Age of Reason. Three ideas can be highlighted: first, Claude-Nicolas Ledoux is the main character of Kaufmann’s discourse; second, the architecture around 1800 needed a reevaluation; and third, his work takes place in a time of searching for a new science of art and for a new history of architecture. To sum up, it can be concluded that Kaufmann is a transitional figure between a previous generation of art historians who established fundamental concepts and principles; and others of his own generation who embarked on the hard task of considering modern architecture as a subject of historical research.

O presente texto e parte de uma pesquisa mais ampla destinada a decifrar arquiteturas e espaços urbanos que tem o desemparo e o mal‑estar como impulso criador. Busca‑se neste ensaio delinear uma narrativa que acolha esses fenômenos, analisando estudos e autores que trabalham com chaves interpretativas afins. Inicialmente foram tratados os conceitos de Unheimlich (inquitetante) e Unbehagen (mal‑estar) de Sigmund Freud. O suporte teórico momentâneo ai encontrado permitiu também estabelecer certa cumplicidade com algumas inquietacoes de Anthony Vidler, expostas em seus livros The Architectural Uncanny e Warped Spaces. Por fim, foram incluídas as constelações e demais considerações epistemológicas e metodológicas de Walter Benjamin, mais especificamente aquelas tratadas no estudo sobre o Barroco Alemão.

In the 2015 exhibition, Cloud Land, for the Museum of Brisbane, Robyn Stacey transformed hotel rooms into dark rooms that captured a unique series of portraits of Brisbane in Australia. These portraits enfold conditions of interiority and exteriority as well as spaces that resemble the past and the present. The collapsing of time and space found in Stacey’s work is central to the analysis presented in this paper. Anthony Vidler’s reading of Deleuze’s concept of ‘the fold’ informs the analytical framework of Stacey’s work. Vidler uses the camera obscura to describe the theories presented in The Fold and he also presents a critical view on how designers have previously read and applied Deleuze’s theories to ‘architectural space.’ This paper also draws from Vidler’s concept of ‘dark space,’ described as the unconscious way we are forced to engage with the often confusing spatial experiences of contemporary built environments. This confusion leads to our experiences of the city being largely unseen. The works presented by Stacey in Cloud Land are, for the most part, informed by her experiences of living in Brisbane during Sir Joh Bjelke-Petersen’s authoritarian government (1968-1987). This recent history of the city is hardly present today, but Stacey finds the visible traces of the oppression experienced by many during this period through the camera obscura. Stacey’s work proffers a way to consciously engage with the city and the unseen histories that are embedded into its fabric. Additionally, through Stacey’s work we consider the placeless and benign spatial quality of contemporary hotel rooms and spaces—an example of Vidler’s ‘dark space.’

O binômio forma e função e o consequente equilíbrio ou a predominância de um ou de outro, nos diferentes campos de atuação dos arquitetos, designers, paisagistas e urbanistas, tem sido tema explorado e vinculado às definições do moderno e do pós-moderno. No projeto dos espaços livres de edificações, a questão está diretamente relacionada com a apreensão e leitura da paisagem urbana e sua apropriação pelo usuário. O objeto de pesquisa é o processo de transformação da paisagem urbana decorrente dos projetos implantados na Jacob Javits Plaza, em Nova York, em diferentes intervenções desde 1967. A pesquisa utiliza dos conceitos de Rosalind Krauss, Anthony Vidler e Silvio Macedo para identificar e analisar as referências projetuais das intervenções na praça e traçar um paralelo entre a arquitetura paisagística e o campo da arte escultórica, e a relação forma e função no projeto do espaço livre de edificações para uso público.

La narrativa de Patricia Esteban Erlés ha otorgado, desde sus inicios, un fuerte peso a los espacios en donde se desarrolla la acción. Algunos de ellos se inspiran en inmuebles de novelas y películas, como ocurre en el caso de Manderley –la casona de la película Rebeca, de Hitchcock– y la mansión Winchester. El escenario principal de la novela Las madres negras, el convento de Santa Vela, es un elemento crucial para la conformación de lo gótico, lo siniestro y lo fantástico, rasgos que se combinan con maestría en esta obra. Este trabajo destaca las características arquitectónicas del espacio y su relación con la trama de la novela. Asimismo, se aborda el protagonismo del inmueble como un personaje, la importancia de su voz a lo largo de la novela y la proyección de la mente de su propietaria original en su construcción, con base en la teoría de Maria Tatar, Sigmund Freud, Anthony Vidler y Gaston Bachelard, entre otros.

In England, the establishment of art history as a professional discipline was consolidated by the foundation of the Courtauld Institute of Art in 1932, and the Warburg Library's move from Hamburg to London the following year due to the rise of the Nazi régime; a political situation that caused the emigration of German-speaking scholars such as Fritz Saxl, Ernst Gombrich and Rudolf Wittkower. Colin Rowe, an influential member of the second generation of historians of modern architecture, was educated as part of this cultural milieu in the postwar period, studying at the Warburg Institute in London. In the ‘Addendum 1973’ to his first published article ‘The Mathematics of the Ideal Villa’ (1947), Rowe acknowledged the Wölfflinian origins of his analysis – Saxl and Wittkower had studied under Heinrich Wölfflin – and the validity of his inherited German formal methods. This assumption, in the opinion of one of Rowe's students, the architectural historian and critic Anthony Vidler, indicated the ‘still pervasive force of the late nineteenth century German school of architectural history in England in the years after the Second World War’.

In Bali, crossroad or pempatan agung is not only seen as a channel of movement. Crossroad or better known as catuspatha in Balinese architecture has sacred meaning and values. In the days of the kingdoms, associated with its status as the center of the royal capital, catuspatha was functioned as the natah of the city. It was the center of citizen activities. Along with the development of times, technology, and the influence of economic, social and cultural factors, the catuspatha was increasingly experiencing development and changes. This study seeks to identify the development and changes of the catuspatha of Denpasar City based on the theory of The Third Typology by Anthony Vidler. The research method used is typical normative criticism which has the belief that buildings and urban areas are always built through a model based on the types of structural, functional, and shape. The results show that The Third Typology also applies to the catuspatha of Denpasar City, where its development and changes can be seen from three typologies, including the first typology which emphasizes natural philosophy, the second typology which is more modernist ideology, and the third typology neo rationalist which emphasizes on continuity of form and history.

During the 1940s the Val Lewton unit at RKO Studios produced a string of horror films that were highly lauded for their subtle approach to the genre, which represented a distinct break from earlier horror films that were characterized by their emphasis on monstrous figures and exaggerated, expressionist-influenced imagery. A significant element of that influence, however, has so far gone unexplored, particularly what we might term the space of horror. Drawing on architectural developments and theory in the late modernist period, particularly as articulated by Anthony Vidler, this article examines how the Lewton films drew on this new sense of space, a space that emphasized not structures or containment, but rather the emerging psychological and social dimensions of the era. Because of wartime restrictions and the economical practices of B-film production, the Lewton films (and as illustrations this article draws examples from each of the three directors who worked in this unit Jacques Tourneur, Mark Robson and Robert Wise) almost had to function in a different register than the earlier wave of horror films with their emphases on old dark houses and castles, on werewolves and vampires. The new spatial strategy that they evolved, however, not only accommodated those period and industrial limitations, but also opened up a new possibility for representing narratives of power and dread one that mobilized space as a placeholder for all of our psychic projections and fears.

Abstract This article traces how processes of physical displacement (and its corollary, re-emplacement) have emerged during multiple periods and in distant locales associated with the history and legacy of the Habsburg Empire. It focuses on an eighteenth-century Turkish garden made from Field Marshal Gideon Ernst von Laudon’s spoils of war on the outskirts of Vienna. Utilizing Anthony Vidler’s concept of “warped space,” the article explores Laudon’s garden as an exemplary form of imperial space. It then proceeds to argue that imperial capitalism continued to produce warped spaces based on processes of displacement and dispossession, using the example of the short-lived Austro-Hungarian concession in Tianjin. In doing so, the article argues for an understanding of imperial subjectivity that takes into account the built space of empire.

The thematic session “Contemporary Issues on Alberti”, included in the International Conference Alberti Digital, did not fail to meet the expectations evident in its title. The presented papers are based in a broad range of authors and contemporary works, from Sol LeWitt (José Capela) to Le Corbusier (António Lousa) through Peter Eisenman and Anthony Vidler (Bruno Gil).

Reckoning With Colin Rowe es un pequeño, pero muy inteligente y desinhibido, libro sobre Colin Rowe, publicado después de su fallecimiento y editado por el arquitecto, escritor y profesor Emmanuel Petit. En él se recogen una selección de textos realizados ex profeso por los siguientes autores: Robert Maxwell, Anthony Vidler, Peter Eisenman, O. Mathias Ungers, Léon Krier, Rem Koolhaas, Alan Colquhoun, Bernhard Hoesli, Bernard Tschumi y Robert Slutzky. Todos arquitectos, a excepción del último que es pintor. Autores muy variados, de diversas generaciones y de muy distinta procedencia que mantuvieron cierta relación con Rowe, que escriben desde un breve texto hasta los más amplios y abarcadores, combinando la forma del ensayo con la entrevista, con el propósito de valorar su legado. Palabras clave: Manierismo, Contra el Zeitgeist, Trasparencia, Collage, Montaje Reckoning With Colin Rowe is a small, but very intelligent and uninhibited, book about Colin Rowe, published after his death and edited by architect, writer and teacher, Emmanuel Petit. The book collects a selection of articles, written specificically for this issue by the following authors: Robert Maxwell, Anthony Vidler, Peter Eisenman, O. Mathias Ungers, Léon Krier, Rem Koolhaas, Alan Colquhoun, Bernhard Hoesli, Bernad Tschumi and Robert Slutzky, all of them architects, with the exception of the last one, who is a painter. All very different authors, from different generations and from very different backgrounds, that maintained a certain relationship with Rowe. They have written texts that vary from essay to interview and from short to more extensive and comprehensive texts, in order to asses his legacy. Keywords: Mannerism, Opposing Zeitgeist, Trasparency, Collage Montage

Artikkelen demonstrerer hvordan den senmoderne bildeboka uttrykker tendenser i det senmodernesamfunnet slik blant andre sosiologene Anthony Giddens, Jon Arne Vetlesen og Finn Hjardemaal beskriver det, med vekt på barn og barndom. Den viser hvordan bøkene ikke bare speiler dissetendensene, men også konstruerer et barn/en barndom. Videre kontekstualiserer artikkelen densenmoderne bildeboka i barnehagen som samfunnsinstitusjon, og diskuterer hvilken rolle den kanspille som allalderlitteratur, for barn og ansatte.

In the television series Sex and the City, there is a scene which illustrates a familiar contempt for suburban life as dull and boring. Implicit is the oppositional view that urban life by comparison, is the more exciting one. Charlotte (one of four women whose sexual and romantic relationships are the focus of the series), has spent time with her in-laws in an upper middle class suburban enclave, and is confessing to her three girl friends her fantasies and ultimate sexual encounter with her in-law's hunk of a gardener. She's racked with guilt over the incident, not least because she is married to the sexually non-performing Trey. At this point in the conversation, Samantha, whose voracious appetite for men is her hallmark, dismisses Charlotte's concerns with the retort: 'well honey really, what's the point of living in the suburbs if you can't fuck the gardener?' Ergo, a life of suburban mediocrity deserves some kind of compensation, preferably an exciting sexual antidote. Samantha's remark draws on a wealth of discourses which reinforce the opposition between the city and the suburbs, and the city and the country, where the city is the crucible for adventure, opportunity and sometimes danger. For these New York women, it is precisely excitement and the possibility of sex and romance that holds them to the metropolis. The association of sexual opportunity for women and the metropolis is something of a departure from earlier narratives of the city. Gender and sexual identity - through discourse, narrative, image and metaphor are inscribed in spatial landscapes, with a rich source to be found in articulations of the city. Inscriptions are contingent on social, economic and cultural forces which shift over time and place, often defining and redefining utopian and dystopian visions. The rise of the great nineteenth century European cities, for instance provoked both utopian and dystopian discourse. Industrialization, overcrowding and poverty were issues which provided representations of the city as menacing and deleterious (as represented in the writing of Charles Dickens, Edgar Allen Poe), while the practice of the flaneur--a nineteenth century male who observed and chronicled the new cities of nineteenth century Europe--confirmed the metropolis as a storehouse of aesthetic and experiential delights. The contemporary zeitgeist is largely utopian, the postmodern city is desirable, uber-cool: sexy. Look at any advertising for inner city apartment living to confirm this. The city's erotic potential is characterized by one of the fundamental conditions of urban life: the close proximity in which we all live among strangers (see also Patton 1995). On a psychic, if not material level, this might provide opportunity for reinvention and renewal of self, for an individual freedom and expression denied to those living in smaller and closer communities. This is the attraction and romanticism of the city. The proximity of strangers gives urban life its erotic possibilities, the capacity for anonymity, that chance meetings with strangers, who we so often live and work among. Lawrence Knopp (1995) describes this aspect of city life as: a world of strangers, a particular life space with a logic and sexuality of its own. The city's sexuality is described as an eroticisation of many of the characteristic experiences of modern urban life: anonymity, voyeurism, exhibitionism, consumption, authority (and challenges to it), tactility, motion danger, power, navigation and restlessness. (151) I've been collecting metaphors of the city and these reveal the congruence between eros and the city. I have yet to find one that is masculine. For instance, journalist Harold Nicholson summing up three European cities used woman as metaphor: 'London is an old lady - Paris is a woman - But Berlin is a girl in a pullover, not much powder on her face' (Petro 1989, 21). Jean Baudrillard's description of Las Vegas as 'that great whore' is similarly feminized and sexualized, and metropolises like New York where aggressive advertisements are like 'wall to wall prostitution.' For Baudrillard, in New York, the plumes of smoke are reminiscent of 'girls wringing out their hair after bathing' (in Docker 1995, 106). Author and journalist John Birmingham described Sydney as 'a tart, loud and brash'. I should add to the list a straw poll of metaphors I conducted for Brisbane, my favourite being Brisbane as a 'middle aged woman in resort wear' (thanks to Maureen Burns for this contribution). But maybe, with the focus on urban development, she might be getting younger. For a (heterosexual) man the city can be alluring, dangerous and feminine. Eros, the city, femininity and danger all collide in the film noir genre, in films such as Roman Polanski's Chinatown, Lawrence Kasden's Body Heat, where beautiful femme fatales lead men astray, or further down the path of corruption. Woman as stranger is alluring and seductive for men, but for woman the chance encounter with a male stranger might signal caution and fear. For women, the dangers are clear: the threat of sexual danger, the chance encounter with a male whose intentions may not be benign. `Reclaim the Night' marches are testament to women's concerns about safety and access to public space, particularly at night. Although research shows that the overwhelming majority of assaults upon women occur in the home, by a person known to the woman, this sober fact does not prevent the cautionary strategies most women employ while out at night. Nor does it diminish the fear and limitations which are the reality of women's experience in public space, particularly at night. Historically, women's role in the public space of the city has been an ambivalent one. A number of analyses of women's role in the nineteenth century city identify the ways in which women in public space were managed and regulated by social and economic interests. Courted on the one hand as consumers for the new department stores and a burgeoning capitalist economy, women were also subject to strict codes of conduct, lest their virtue be in question. Judith Walkowitz in The City of Dreadful Delights examined the ways in which public discourse of danger in nineteenth century London, including the account of Jack the Ripper, as malevolent male stranger, function as a form of moral regulation for women in these newly created city spaces. Both Walkowitz and cultural historian Elizabeth Wilson argue that the metropolis of the nineteenth century, eroded the boundaries between private and public spheres and divisions of labour between men and women. A disquiet and concern over women entering these new public spaces manifested in a discourse of danger and morality, underpinned by the idea that women were at the mercy of their passions and required control and guidance. Perhaps unsurprisingly, Freud had something to say about this. He speculated that the condition of agoraphobia, the fear of open spaces, (which for Freud was an intrinsically female neurosis), was linked to a repressed inner desire to walk the streets, to be streetwalkers (Vidler 1993, 35). But times have changed: the contemporary postmodern city, is celebrated, promoted and regulated as one of diversity, inclusivity and liveablity. Access and amenity are the buzzwords of local and state government policy. In the postmodern city everyone ostensibly is made welcome and a plethora of infrastructure support different interests and lifestyles. Cafés culture has provided a social space for women in particular, previously denied wholesale access to that other Australian social space, the pub. Women's earning capacity means that many of their interests are represented culturally and socially and that they are more firmly inserted into the fabric of city life. Television series and sit-coms located in the city, where groups of friends sometimes live together; Friends, Seinfeld, Sex and the City reinforce the perception of city living as a place of opportunity and fun for younger women and men. Promotional literature is quick to exploit this image. A tourism brochure for the inner city Sydney (non!) suburb of Newtown, describes the attractions of the area: `some cities are cursed with suburbs, but Sydney's blessed with Newtown, a cosmopolitan neighbourhood.' As if Cabramatta, Fairfield or Parramatta, all outer suburban areas of Sydney, weren't cosmopolitan. A billboard in Brisbane's urban renewal area of Newstead, advertises apartment living as 'Urban living NOT suburban'. Drawing upon the rhetoric of opposition and expressing the familiar anti-suburban sentiment which for Australia, originated in the bohemian movement of the late nineteenth century (see also Kinnane 1998). This tradition probably reached its apotheosis with Barry Humphries in the 1960s whose comedic alter ego, Edna Everage signified everything that was despicable and mindless about suburbia. Edna's obsession with housing décor, cooking and recipes, social status and the minutiae of domesticity was portrayed with a venomous satire that depended upon a trivialization of traditional feminine competencies. Is there a connection between the anti- suburban tradition of cultural elites and the suburbs' close association with the domestic and feminine sphere of life? Patrick White in describing the mythical suburb of Sarsaparilla claimed it as 'a geographical hell ruled by female demons' (in Duruz 1994). American historian Lewis Mumford in his seminal work The City in History wrote that the suburbs are not 'merely a child centred environment: it is based on a childish view of the world which is sacrificed to the pleasure principle' (1961). Little wonder that today, younger women are fleeing the suburbs and flocking to the city, attracted by its possibility of adventure and eros. The other day I picked up my teenage daughter from her school to which she had returned after a five day camp in the bush. 'Aaaagh', she sighed with a sense of relief, as we approached our densely populated inner city suburb, 'buildings again… and not too many trees'. The following morning we were out in the lush and fecund Samford Valley, this time at her first soccer match for the season. As we drove further into the bush she yelled out, 'Oh no, not all these trees again!' Is this the response of a typical twenty- first century urban woman? References Docker, John. (1995) Postmodernism and Popular Culture: A cultural history. Cambridge, Cambridge University Press. Duruz, Jean. (1994) 'Romancing the Suburbs?' in Katherine Gibson and Sophie Watson (eds) Metropolis Now. Sydney, Pluto Press. Kinnane, Gary. (1998) 'Shopping at Last!:History, Fiction and the Anti-Suburban Tradition.' Australian Literary Studies: Writing the Everyday, Australian Literature and the Limits of Suburbia, 18. 4: 41-55. Knopp, Lawrence. (1995) 'Sexuality and Urban Space: a framework for analysis' in David Bell and Gill Valentine (eds) Mapping Desire. London, Routledge. Mumford, Lewis. (1961) The City in History, Its Origins, Its Transformations and Its Prospects. London, Penguin. Patton, Paul. (1995) 'Imaginary Cities' in Sophie Watson and Katherine Gibson (eds) Postmodern Cities and Spaces. Cambridge, Blackwell Publishers. Petro, Patrice (1989) Joyless Streets: Women and Melodramatic Representation in Weimer Germany. Princeton, Princeton University Press. Vidler, Anthony (1993) 'Bodies in Space/Subjects in the City: Psychopathologies of Modern Urbanism.' Differences: A Journal of Feminist Cultural Studies, 5.3: 31-51. Walkowitz, Judith. (1992) City of Dreadful Delight: Narratives of Sexual Danger in late Victorian London. Chicago, Chicago University Press. Watson, Sophie and Gibson, Katherine. (1995) Postmodern Cities and Spaces. Oxford, Basil Blackwell. Wilson, Elizabeth. (1991) The Sphinx in the City: Urban Life, The Control of Disorder and Women. London: Virago. Citation reference for this article MLA Style Felton, Emma. "The City" M/C: A Journal of Media and Culture 5.2 (2002). [your date of access] < http://www.media-culture.org.au/0205/eros.php>. Chicago Style Felton, Emma, "The City" M/C: A Journal of Media and Culture 5, no. 2 (2002), < http://www.media-culture.org.au/0205/eros.php> ([your date of access]). APA Style Felton, Emma. (2002) The City. M/C: A Journal of Media and Culture 5(2). < http://www.media-culture.org.au/0205/eros.php> ([your date of access]).