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Relevant bibliographies by topics / Poetic architecture

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Academic literature on the topic 'Poetic architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Poetic architecture"

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Raičević, Andrea, and Vladimir Stevanović. "Gaston Bachelard's poetics of space: Inverse dreambook for interpretation of thinking by means of building." Arhitektura i urbanizam, no. 51 (2020): 20–32. http://dx.doi.org/10.5937/a-u0-28495.

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This paper aims to examine the philosophical work of the French epistemologist and phenomenologist - Gaston Bachelard, by transferring its interpretation from the general into a specific field of architecture. The Poetics of Space (La Poétique de l'Espace), as a Bachelard's work that enjoys even today the most comprehensive reception among the architects and theorists of architecture, shall be taken as a starting point of our analysis. Intending not to limit itself to the considerations which encompass only texts that are strictly thematically or problematically dealing with architecture, this paper aims to position and contextualise Bashlar's philosophical thought within the phenomenological reflections that found their applications in the theory of architecture. In this sence, we shall provide an insight into the duality of relations between the Bachelard's concept of poetic image (l'image poétique) and a poetic object/motif, which, in our case, referes to the inherent elements of an architectural object intended for dwelling. Therefore, in addition to the material and geometric, we shall try to apprehend and explain the experiential manner of spatial perception, and single out the echoes of Bashlar's philosophical thought, which carry within themselves a potential to distort architectural thinking. The results of research shall indirectly demonstrate two possible ways of interpreting the Bachelard's work: 1) the analogous application and appropriation of interpretations of Bachelard's text as a reversed manualdreambook for provoking and inscribing the desired experience in the architectural space, and 2) the application of the mechanisms of phenomenological analysis itself, directed towards the interest in the process of creating a poetic image, as guidelines for the actualisation of an architectural object in its specific reality, through the work on its poeticity.

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Sha, Xin Wei. "Minor architecture: poetic and speculative architectures in public space." AI & SOCIETY 26, no. 2 (2010): 113–22. http://dx.doi.org/10.1007/s00146-010-0290-6.

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Walker, Gerald. "Architecture, Method and the Poetic Image." Journal of Architectural Education 40, no. 2 (1987): 85–86. http://dx.doi.org/10.1080/10464883.1987.10758447.

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Walker, Gerald. "Architecture, Method and the Poetic Image." Journal of Architectural Education (1984-) 40, no. 2 (1987): 85. http://dx.doi.org/10.2307/1424953.

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Pérez-Gómez, Alberto. "Questions of representation: the poetic origin of architecture." arq: Architectural Research Quarterly 9, no. 3-4 (2005): 217. http://dx.doi.org/10.1017/s1359135505000278.

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Stratford, Helen, Doina Petrescu, and Constantin Petcou. "Form-Trans-Inform: the ‘poetic’ resistance in architecture." Architectural Research Quarterly 12, no. 2 (2008): 149–58. http://dx.doi.org/10.1017/s1359135508001036.

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In Nicolae Ceausescu's ‘Systematisation’ programme, implemented across Romania throughout the 1980s, power was played out in acts of building. The city of Bucharest provided a visible symbol of the centralisation of authority, manifest in the construction of the Boulevard of the Victory of Socialism and the House of the People. Beginning from this historical context, this paper revisits the work of one group of student architects in Romania, Form-Trans-Inform, who used spatial practices to question orthodoxies in architecture around them as protests against repressions under the monolithic Ceausescu regime.

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Tuomey, John. "Bringing heaven down to earth: reading the plan of Ronchamp." Architectural Research Quarterly 23, no. 1 (2019): 8–19. http://dx.doi.org/10.1017/s1359135519000113.

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Valery’s cry for clarity stiffens my resolve to write from the position of a working life in architectural practice. Sometimes we need to raise our heads above the heat of daily battle with budgets and restrictive regulations, to remind ourselves of what it was that made architecture such a compelling field of study in the first place. Personal experience of works of architecture persuades us that architectural design provides useful evidence of human intelligence. And there is a case to be made for connecting the widely accepted value of historic architecture to the less well-established position of contemporary architecture in the culture, to pay attention to what Robin Evans once called ‘the small poetic voice of modern architecture’.3

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Drobnjak, Boško. "Architecture as a textual phenomenon: Alexander Brodsky's architectural practices of appropriation." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 531–42. http://dx.doi.org/10.5937/saj1903531d.

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This paper analyses architecture created through appropriating existing materials while focusing on strategies of intertextuality. It argues that the meaning of an architectural object does not derive from itself, or its poetic concepts, but rather from its relationship with other architectural objects, other art works as texts, cultural texts, and everyday practices. My aim is to show various theoretical problems of the theory of architecture and art, which as a network of overlapping texts of culture, surround the architectural production of Alexander Brodsky. Here I use different and varied theoretical concepts, selecting two case studies by Brodsky - The Pavilion for Vodka Ceremonies and Rotunda-upon which the paper is based as an interdiscursive study.

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Nichols, John G. "Ezra Pound's Poetic Anthologies and the Architecture of Reading." PMLA/Publications of the Modern Language Association of America 121, no. 1 (2006): 170–85. http://dx.doi.org/10.1632/003081206x96177.

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Between 1914 and 1933, Ezra Pound edited four anthologies of poetry: Des Imagistes, Catholic Anthology, Profile, and Active Anthology. These compilations arose out of crucial stages of Pound's career in the teens, when he reacted against Victorian poetry, and in the 1930s, when he acted as a spokesperson for the modernist movement. Using the anthology as a vehicle for the presentation of innovative poetry as well as a guidebook on how to read it, Pound experimented with anthology formats to propel readers into the project of modernism through devices such as elliptical prefaces and fragmentary notes. He sought to train readers for the demands of interpreting modernist poetry and to reclaim control over an audience educated by burgeoning university literature departments and the mainstream poetic anthologies they employed. (JGN)

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Hill, Glen. "Poetic measures of architecture: Martin Heidegger’s ‘…Poetically Man Dwells…’." Architectural Research Quarterly 18, no. 2 (2014): 145–54. http://dx.doi.org/10.1017/s1359135514000451.

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Martin Heidegger begins his lecture ‘… Poetically Man Dwells …’ by denying poetry is a marginal practice whose imaginings are ‘mere fancies and illusions’. ‘[T]he poetic’, he states, is not ‘merely an ornament and bonus added on to dwelling’. On the contrary, Heidegger boldly claims that poetry is the source of all human dwelling on earth: ‘[…] poetry first causes dwelling to be dwelling. Poetry is what really lets us dwell.’The connective tissue of Heidegger's argument in ‘… Poetically Man Dwells …’ is the concept of ‘measure’. In the English translation of the lecture, permutations of the term ‘measure’ (Maß/messen) appear a remarkable ninety-four times, not including dozens more uses of its synonyms: ‘dimension’, ‘span’, ‘meter’ and ‘gauge’. What seems surprising, given that the set-up of the lecture revolves around poetry and measure, is that the commonest understanding of measure related to poetry – poetic measure itself – is not discussed thematically by Heidegger. Rather, Heidegger's incessant word play produces meanings that include ‘measuring against’ in the sense of comparing to a standard, ‘measuring up’ a space by ‘stepping-out’ (durchmessen), ‘measuring out’ in the sense of dividing-up or apportioning (das Zu-Gemessene), ‘being measured’ in the sense of having propriety, ‘taking measures’ (die Maß-Nahme) in response to a situation, and ‘measuring between’ as a distance or span. These meanings are of course related to common poetic measure, and might even be claimed to be its ground.

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Dissertations / Theses on the topic "Poetic architecture"

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Petersen, Matthew Zane. "Poetic essence in architecture." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/petersen/PetersenM0510.pdf.

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Davidson, Bradley Ross. "Poetic intent in architectural design." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23392.

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Brady, Noel Jonathan. "Towards the poetic." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/71405.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.<br>Includes bibliographical references (leaves 159-163).<br>Born out of a concern for the world, this philosophy of artifact makes a case for a particular way of making. It is a search for things which mediate between ourselves and the earth. It is a search for those things which allow us to dwell, for things that anchor our belonging. It is a search for things which are formed from a principle which is a cultural, a historical, formed from something deep within us. Moreover it is an explanation, better still a belief about what we are about. I am not going to talk about poetry or literature per se. I will be talking about poetry as the springing point from which 1 will talk about our works. I will look at the nature of things. the things we make mediate between the earth and ourselves in some way. In each things we make we can read our relationship to the earth, or non-relationship as the case may be in our present alienating world. These things gather the earth and ourselves together and make sense by our willing. For anything to be born into the void, the distance between us and the earth there must be an idea, a thought. We concertize those images in the thing, to be anchored and made real. In creating these things we have the power to bring to the thing values we consider worthwhile. This essay will be a case for those values which allow belonging to occur, which makes dwelling possible. To return to poetry, or rather the poetic let us look at language for a time. In ordinary language we use naming to make the world understandable and precise. We can begin to communicate reality through this naming. Thus language anchors our existence and is tied to the things by this act of naming. Poetry, however, transcends this connection. It brings about meaning through the juxtaposition of different things. It creates its meaning by association and by metaphor (translation), bringing it alive in another way. It becomes a thing in itself. It stands on its own, outside of ordinary language, it mediates between reality and us. It is not tied to a thing as a name is, rather it brings earth and humanity together, it mediates just as a thing does. It becomes a living thing in its own right revealing for us the earth and us to the earth. And so to architecture that is truth, an architecture that echoes and mirrors reality, illuminates its existence and allows for dwelling. In a way this is a search for truth via the artifact. Dwelling depends on belonging which in turn depends on reality and our knowing of it, particularly as truth. I hope to show a way which lies beneath our false constructions to achieve that which has been elusive, a sense of belonging in order that I might find ground upon which I can truly build.<br>by Noel Jonathan Brady.<br>M.S.

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Alene, Anne C. "Shirai Seiichi| Japan's poetic modernist." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10099856.

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<p> Shirai Seiichi’s education in the context of the interwar events influenced his path and molded him into a defender of idealism. Starting from the early evolution of his ideas, Shirai’s significant concepts are outlined to show how they stood apart from and challenged the Japanese modernist debates over the architectural responses to war and industrialization. Examples of Shirai’s early work along with surrounding historical events show how Shirai’s perceptions of the use of space and its manifestation in architecture, based on Kantian ideas of a priori creation, contradicted orthodox modernist architectural theory and practice. Shirai’s evolving theories and their impact on his design are introduced through his early training and related projects. However, it is his unrealized plan for the Genbakud? that is analyzed as primary evidence for the idea that Shirai was the only mid-twentieth century Japanese architect who could effectively express the sad destiny of the nuclear age. Last, specific examples of Shirai’s mid to late career work to demonstrate how his conceptual framework evolved. Interviews, commentary, and theoretical analyses of his works show his unique trajectory and role in contrast to his modernist colleagues, and provide insight into Shirai’s investigation into the universality and potential of the human spirit (fuhen no anima). Finally, recent discussion about constructing the Genbakud? based on Shirai’s blueprints raise the idea that Shirai’s early ideals are now ready to be presented in the post-modernist age.</p>

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Marks, Thomas. "The poetry of architecture : aspects of poetic form from Wordsworth to Thomas Hardy." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540159.

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Papa, Jason M. "Trauma Institute - Detroit Michigan community realized through poetic architecture /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212168896.

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Thesis (Master of Architecture)--University of Cincinnati, 2008.<br>Advisor: Vincent Sansalone (Committee Chair), Jay Chatterjee (Committee Co-Chair). Title from electronic thesis title page (viewed Feb. 8, 2009). Includes abstract. Keywords: poetic; architecture; experiential; socialization; language; built environment. Includes bibliographical references.

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Annunciação, Viviane Carvalho da. "Exile, home and city: the poetic architecture of Belfast." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30102012-123412/.

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The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging.<br>A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.

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Hjort, Ebba. "Responding Objects – Poetic Design and Healing Spaces." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7837.

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Today's social climate and working environments expose us to excessive expectations and demands and more and more people are diagnosed with stress-related illnesses. My degree project is an investigation of poetic design, healing spaces and fatigue syndrome and the importance of adapted health care environments that strengthen treatment and recovery. My mother has fatigue syndrome, she has been ill for over six years, and she still has severe symptoms that probably never fully will go way. So, the purpose of this project is, on the one hand an attempt to get a deeper understanding of her situation, and on the other, to shed some light on this illness that is getting more and more common, especially amongst women. Research shows that spending time in nature has healing effects for those with mental illness. Using my definition of poetic design as a method, I have transposed qualities of nature into an indoor environment that reconnects to humans deep and genetic relationship to nature. I am proposing a new type of health care space with a much-needed holistic approach. Focus is on treatments such as mindfulness, basal body awareness and yin yoga as well as different kinds of therapy and activities in a space close to nature. A holistic space including a garden, an indoor space and a piece of furniture that are designed to respond to the non-measurable and invisible symptoms of fatigue syndrome.

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Rutkauskaite, Egle. "Urban Solitude : A Journey through a Geo-Poetic Archipelago of Umeå." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-133168.

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Sturich, Matthew Alexander. "The poetic image : an exploration of memory and making in architecture and film." Thesis, Manhattan, Kan. : Kansas State University, 2005. http://hdl.handle.net/2097/85.

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Books on the topic "Poetic architecture"

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A, Papadakēs, ed. Poetic architecture. New Architecture Group, 2005.

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Kenneth, Frampton, ed. Professione poetica =: Poetic profession. Electa, 1986.

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Siza, Alvaro. Professione poetica: Poetic profession / Alvaro Siza ; with texts by Kenneth Frampton ... [et al.]. Electa, 1986.

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Ward, Jonathan. Peter Pran: An architecture of poetic movement, altered perceptions. Andreas Papadakis, 1998.

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Ed, Taverne, Wagenaar Cor, and Vietter Martien de, eds. J.J.P. Oud: Poetic functionalist, 1890-1963 : the complete works. NAi Publishers, 2001.

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P, Oud J. J. J.J.P. Oud: poetic functionalist, 1890-1963: The complete works. NAI Publishers, 2001.

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Troupe, Quincy. The Architecture of Language: Poems. Coffee House Press, 2006.

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The Architecture of Language: Poems. Coffee House Press, 2006.

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Pran, Peter C. Peter Pran: Jonathan Ward, Timothy Johnson, Paul Davis : an architecture of poetic movement : altered perceptions. Andreas Papadakis Publisher, 1998.

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Feng, Chin. Beyond form and structure: A study of the paleographic and poetic reflections of the meaning and experience of Chinese architecture. UMI, 1993.

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Book chapters on the topic "Poetic architecture"

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Temple, Nicholas. "Poetic language in the early Renaissance (volgare versus Latin)." In Architecture and the Language Debate. Routledge, 2020. http://dx.doi.org/10.4324/9781315638492-2.

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Félix-Jäger, Steven. "Architecture: Communal Gathering in a Theo-Poetic Space." In Spirit of the Arts. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67919-8_8.

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Tyrrell, Andy M., Eduardo Sanchez, Dario Floreano, et al. "POEtic Tissue: An Integrated Architecture for Bio-inspired Hardware." In Evolvable Systems: From Biology to Hardware. Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-36553-2_12.

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Choksey, Lara. "Max Ritvo’s Precision Poetry." In The Palgrave Handbook of Twentieth and Twenty-First Century Literature and Science. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48244-2_19.

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AbstractThis essay reads Max Ritvo’s poetry through a chronology of precision biomedicine: imaging, diagnosis, and treatment. Ritvo’s construction of a patient-consumer avatar in his poetry reflects his position at a biomedical frontier, while poetic form becomes a way of retrieving bodies from a logic of substitution and surrogacy. A body lying under the weight of relentless, and relentlessly variable, imaging is catapulted through memory to a place by the sea in “The Curve.” In “Poem to My Litter,” the speaker addresses the laboratory mice injected with his tumors, drawing himself closer to them through their shared imprisonment in bodies on their way out of life, and suspending a bioeconomy embedded in a moral economy of sacrifice and faith. If precision medicine depends on making the analogical and metaphorical into common consensus—images that stand in for bodies, codes that stand in for disease—then Ritvo upends its neat architecture. He sticks instead with the messiness of bodies failing to meet an elusive salvation.

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Pallasmaa, Juhani. "Corpo, mente e immaginazione: l’essenza mentale dell’architettura." In La mente in architettura. Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-286-7.05.

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In our culture, dominated by shallow rationality and reliance on the empirical, measur-able and demonstrable, the embodied, experiential and mental dimensions of design are supressed. Yet, there is an interest in the possibilities of neuroscience to reveal the roles of space, form, materiality, memory and imagery in our sensory experiences and mind. Neuroscience supports the mental objectives in design, which are in danger of being eliminated in the crudely rationalized, quantified and functionalized processes of de-sign. The task of architecture extends beyond its utilitarian purposes to the existential and mental sphere. Articulating lived existential space, architecture constitutes our sys-tem of externalized order, hierarchy, memory and meaning. Neuroscience will reveal how the external and internal, material and mental, utilitarian and poetic dimensions constitute an integrated existential experience. The interest in the mental dimensions of architecture will confirm the significance of intuition, empathy and imagination.

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Robinson, Sarah. "Situated Poetics." In Architecture is a Verb. Routledge, 2020. http://dx.doi.org/10.4324/9781003103004-1.

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Norgate, Stephanie. "‘The Mind in the House’ or the ‘House in the Mind’: Poetic Composition and Reclaimed Memory." In Architectural Space and the Imagination. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36067-2_14.

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Matthews, Steven. "‘Reconciliation Under Duress’: The Architecture of Seamus Heaney’s Recent Poetry." In Irish Poetry: Politics, History, Negotiation. Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25290-9_6.

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"Architecture and Poetic Efficacy Architectural Poetics." In Architecture and Philosophy. Brill | Rodopi, 2010. http://dx.doi.org/10.1163/9789042031906_005.

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Landrum, Lisa. "Architectural Renewal and Poetic Persistence." In Economy and Architecture. Routledge, 2015. http://dx.doi.org/10.4324/9781315714660-12.

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Conference papers on the topic "Poetic architecture"

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Frances Dias, Sarah, and Maria João Durão. "Architecture and Art: La Ronchamp’s symbiosis as a ‘total work of art’." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.612.

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Abstract: Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier’s artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a ‘total work of art’, analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier’s unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment. Keywords: Art, Architecture, Le Corbusier, Principles, Poetry, Emotion. DOI: http://dx.doi.org/10.4995/LC2015.2015.612

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Kirschner, U. "Poetic water images in architecture." In ECO-ARCHITECTURE 2006. WIT Press, 2006. http://dx.doi.org/10.2495/arc060151.

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BARBUICA, Letitia. "Teaching in Architecture Studios: Poetic Simplicity." In 8th LUMEN International Scientific Conference Rethinking Social Action. Core Values in Practice | RSACVP 2017 | 6-9 April 2017 | Suceava – Romania. LUMEN Publishing House, 2017. http://dx.doi.org/10.18662/lumproc.rsacvp2017.8.

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Xiang, Liqun, Jianfei Dong, and Xuezhu Shan. "Combination of Contemporary Architecture and Historical Elements in Poetic Methods." In 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/saeme-17.2017.106.

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Oliveira, F. "Structure in architecture – A definition in the poetic tectonic age." In The 10th EAAE/ARCC International Conference. CRC Press, 2017. http://dx.doi.org/10.1201/9781315226255-174.

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Fernandes da Silva, Fernanda. "Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.783.

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Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture. Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783

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Alison, Aurosa. "Les « Unités » Modulor dans la Philosophie de l’Espace de Gaston Bachelard." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1045.

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Résumé: Celui du Modulor est le premier exemple de la mesure humaine utilisée dans l’architecture. L’architecture de la moitié du vingtième siècle a été influencée par les projets de Le Corbusier. En même temps, la pensée de Gaston Bachelard s’évolue contextuellement au Mouvement Moderne et en 1957 le philosophe publie le célèbre ouvrage « La Poétique de l’espace ». Une bonne partie de sa pensée a été influencée par l’étude des quatre éléments naturels, par une conception de l’espace intime et par les différents développements de l’image de la maison. La description de la maison, dans les mots de Bachelard, correspond aux thèses principales de Carl Gustav Jung sur les différentes étapes de l’âme. Dans cette étude nous analysons les liaisons entre une conception intime de l’espace vécu et la pensée progressive de l’architecture moderne. A travers les exemples suggérés par l’Unité d’Habitation et par le Cabanon de Le Corbusier, nous voulons illustrer les dynamiques d’une philosophie de l’espace, émotionnelle, intime et secret. Abstract: The Modulor is the first example of the human measure. The architecture of the second part of the twenty century was influenced by Le Corbusier works. The development of the thought of Gaston Bachelard is contextualized in the second half of the twentieth century too, he writhed the Poetic of the Space on 1957. His philosophy was influenced based on the study of the four natural elements, up to the conception of intimate space, namely that of the house. The Bachelard house description corresponds to the Carl Gustav Jung’s theses about the soul life and the soul stadium. In this paper we analyse the correspondences between an intimate conception of the lived space and an architectural progressive thought. Throw the examples of Le Corbusier’s Unité d’Habitation and of Le Corbusier’s Cabanon we try to explain the emotional, intimate and secret dynamic of a current Space Philosophy. Mots clés: Unités, Modulor, Architecture, Mouvement Moderne, Gaston Bachelard, Poétique de l’espace, Espace intime. Keywords: Unités, Modulor, Architecture, Gaston Bachelard, Space Philosophy, Intimate Space. DOI: http://dx.doi.org/10.4995/LC2015.2015.1045

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Bchir, E. "Towards a specific modernity of architecture: the trade-off between text and context in defining a poetic approach of individual housing in Tunis." In STREMAH 2015. WIT Press, 2015. http://dx.doi.org/10.2495/str150231.

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Lopes Dias, Tiago. "La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.732.

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Resumen: Pedro Vieira de Almeida (Lisboa, 1933 – Matosinhos, 2011) es uno de los más importantes críticos y teóricos de la arquitectura en la segunda mitad del siglo XX en Portugal. En 1963, presenta en la Escuela de Bellas Artes de Oporto una tesis titulada “Ensayo sobre el espacio de la arquitectura”, influida por el pensamiento de Bruno Zevi. Hasta la Revolución de los Claveles (1974), va a compaginar su práctica profesional como arquitecto con una intensa actividad crítica ejercida sobre todo en periódicos y revistas culturales. Desde sus primeros trabajos se evidencia una notable capacidad de utilizar conceptos críticos innovadores en el análisis de obras de arquitectura, lo que será fundamental en sus estudios historicos desarrollados a lo largo de su vida, dados a conocer en publicaciones y exposiciones retrospectivas sobre arquitectos clave. Este ensayo propone una reflexión sobre el legado de Le Corbusier poniendo el aciento en algunos artículos de Vieira de Almeida escritos entre 1965 y 1970, así como en la investigación que ha llevado a cabo en los últimos años de su vida. Esta lectura diacrónica pone de relieve el papel central del maestro franco-suizo en la lectura crítica de Vieira de Almeida del racionalismo, a través de las nociones por él manejadas: “estructura crítica como condición base de la creación”, las vertientes poético-simbólica y mítica de la arquitectura o el concepto de carácter más instrumental de la “espesura”. Abstract: Pedro Vieira de Almeida (Lisbon, 1933 – Matosinhos, 2011) is one of the most prominent critics and theorists of architecture in the second half of the 20th century in Portugal. In 1963, he presented at the Oporto School of Fine Arts a thesis entitled “Essay on architectural space”, clearly influenced by the thoughts of Bruno Zevi. Until the Carnation Revolution (1974), he will combine his professional practice as an architect with an intense critical activity, developed mainly in newspapers and cultural magazines. Since his early work, a remarkable ability to use innovative concepts in the critical analysis of buildings have been put forth, with major consequences in his historiographical studies, developed throughout his life through publications or retrospective exhibitions on key architects. The following paper proposes a reflection on the legacy of Le Corbusier based on Vieira de Almeida’s theoretical work, linking some texts written between 1965 and 1970 with his research carried out in his last years of life. This diachronic study highlights the central role of Le Corbusier in Vieira de Almeida’s critical approach to rationalism, by means of notions as: “criticism as a basic condition of creation”, poetic-symbolic and mythical aspects of architecture, or the more instrumental concept of “thickness”. Palabras clave: Crítica; Teoría; Pedagogía; Poética; Espesura; Ronchamp. Keywords: Critique; Theory; Pedagogy; Poetics; Thickness; Ronchamp DOI: http://dx.doi.org/10.4995/LC2015.2015.732

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Roudbari, Shawhin, Ana Colón Quiñones, and Ann Marie Dang. "Forming Anti-Racist and Counter-Hegemonic Spaces." In 2019 ACSA Fall Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.fall.19.20.

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Racism persists in the work we do as architects, architecture students, and architectural educators. In this paper, we combine sociological theories of colorblind racism and white hegemony with an analysis of architectural design processes. We draw from writings, poetry, imagery, and renderings as media that aid in making architecture’s racial discrimination visible. We propose ways of thinking about colorblind racism in design that we hope will aid design practioners, students, and teachers in countering hegemonic racist ideologies that are present in our work. We consider ways that in our practices and our teaching, we conceptualize space as colorblind, we render those spaces as white, hegemonic, and normative, and we disengage when those spaces sustain racism. We argue that our failure to see the racialization of the spaces we imagine is an expression of colorblind racism.

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