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Journal articles on the topic 'Scheerbart'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Miller, Tyrus. "Paul Scheerbart and the utopia of glass." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 85–95. http://dx.doi.org/10.5937/saj1501085m.

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This paper will consider the architectural writings of the German expressionist writer Paul Scheerbart, focusing on his fascination with glass as an architectural and symbolic material within his writings. I will discuss Scheerbart's architectural treatise Glass Architecture, his novel The Grey Cloth, and related writings on glass architecture. Scheerbart represents an alternative tradition within architectural modernism, which saw glass as a constructive material that represented modernity by exposing structural elements of the building, thus guaranteeing conformation of form to function. Sch

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2

Nielsen, David, and Anoma Kumarasuriyar. "The lily, client and measure of Bruno Taut's Glashaus." Architectural Research Quarterly 18, no. 3 (2014): 257–66. http://dx.doi.org/10.1017/s1359135514000608.

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A current issue in architectural scholarship is the rethinking of the origins of Modernism. As a formative exemplar of early architectural Modernism, Bruno Taut's seminal exhibition pavilion, the Glashaus (1914) [1] is understandably part of this debate. In 1959, Reyner Banham in his article, ‘The Glass Paradise’ suggested that it would be appropriate to investigate the origins of the Glashaus, as it was both vastly dissimilar to and exceeded any of Taut's previous designs. In an effort to answer this question, Banham subsequently introduced the unique role played by the Bohemian poet Paul Sch

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3

Kurbjuhn, Charlotte. "nr="24"Hinter Glas: Imaginationen des modernen Hauses in utopischen Romanen Paul Scheerbarts und frühen Architekturentwürfen Bruno Tauts." Zeitschrift für Germanistik 30, no. 1 (2020): 24–49. http://dx.doi.org/10.3726/92165_24.

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Paul Scheerbart entwickelte in utopischen Romanen und in seiner Schrift Glasarchitektur (1914) avantgardistische Konzepte von Bauten aus durchscheinendem farbigen Glas, die mit der Hoffnung auf einen ,neuen Menschen‘ in vollkommener Harmonie mit dem Kosmos verbunden sind. Statt manifester Programmatik findet man in den Texten fragmentarische Thesen, Spielarten (neo-)romantisch-ironischen Erzählens und eine Favorisierung von Ornamentik, die zeichnerische Arabesken der Zeit um 1800 in Form von Licht- und Farbphänomenen immaterialisiert. Die Protagonisten gehören einem elitären Jetset an, soziale

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4

Gelley, Alexander. "Lesabéndio. An Asteroid Novel by Paul Scheerbart." MLN 129, no. 3 (2014): 716–18. http://dx.doi.org/10.1353/mln.2014.0034.

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5

Eggler, Marianne. "Glass! Love!! Perpetual Motion!!!: A Paul Scheerbart Reader." Journal of Architecture 20, no. 5 (2015): 919–22. http://dx.doi.org/10.1080/13602365.2015.1100420.

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6

Brendel, Janos, and Antoine Baudin. "L’Architectonisme dans la pensée constructiviste hongroise et chez P. Scheerbart." Ligeia N°7-8, no. 1 (1990): 34. http://dx.doi.org/10.3917/lige.007.0034.

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7

Belarev, Alexander N. "“Yours, P.C.W.” The Unpublished Letters of Paul Scheerbart to Erich Mûhsam." Studia Litterarum 1, no. 3-4 (2016): 365–98. http://dx.doi.org/10.22455/2500-4247-2016-1-3-4-365-398.

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8

Hidalgo Arellano, José Ángel. "Promenade in three movements. About the chapel in Neviges by Gottfried Böhm." EN BLANCO. Revista de Arquitectura 5, no. 11 (2013): 30. http://dx.doi.org/10.4995/eb.2013.6626.

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<p>Gracias a arquitectos como Gropius, Mies, Schwarz y Van der Laan o el propio Dominikus Böhm, Gottfried Böhm se sitúa en un observatorio privilegiado de la arquitectura, el arte y la liturgia cuando a principios de los años 60 recibe el encargo de construir la iglesia de Neviges. El artículo analiza la obra alrededor de tres ejes: la relación con el expresionismo alemán (Scheerbart y Taut), la lectura (y la respuesta) que se hace del contexto (tipología, paisaje y escala) y la incorporación de la nueva liturgia católica (iconografía, espacio y luz).</p>

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9

Matuszewska, Karolina. "‘Itʼs a great pleasure – to be so alone – so completely alone with his dreams’: Paul Scheerbart and his spiritual refuge at the orient". Colloquia Germanica Stetinensia 26 (2017): 43–62. http://dx.doi.org/10.18276/cgs.2017.26-03.

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10

Rehorst, Chris. "Jan Buijs and De Volharding, The Hague, Holland." Journal of the Society of Architectural Historians 44, no. 2 (1985): 147–60. http://dx.doi.org/10.2307/990026.

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In 1927-1928 the Dutch architect Jan Buijs (1889-1961) built for the socialist co-operative "De Volharding" a stunning "glass house" in The Hague. The building was particularly remarkable for the revolutionary way in which Buijs interpreted his client's demand for a nighttime display of advertisements in the façades. At night De Volharding seemed transformed into a grand, luminous billboard. Although the building achieved an international reputation as a revolutionary example of the new architecture, its cubist-aesthetic appearance and its failure to conform to the tenets of the "New Objectivi

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11

Barber, John F. "Lesabéndio: An Asteroid Novel by Paul Scheerbart. Wakefield Press, Cambridge, MA, U.S.A., 2012. Originally published in German, 1913. 280 pp., illus. Trade. ISBN: 976-0-9841155-9-4." Leonardo 47, no. 1 (2014): 93–94. http://dx.doi.org/10.1162/leon_r_00717.

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12

Oliveira, Susana Martins. "Paul Scheerbart’s Kaleidoscopic Fantasies." Brumal. Revista de investigación sobre lo Fantástico 5, no. 2 (2017): 11. http://dx.doi.org/10.5565/rev/brumal.414.

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13

Schuetze, Andre. "Der gläserne Raum: Paul Scheerbarts Utopie einer Glasarchitektur." Seminar: A Journal of Germanic Studies 48, no. 1 (2012): 31–50. http://dx.doi.org/10.3138/seminar.48.1.31.

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14

PACHOURI, DIPTI, S. RAFI, MANJARI SHARMA, and W. HAIDER. "EXACT CALCULATION OF THE DIRECT PART OF THE NUCLEON–NUCLEUS SPIN-ORBIT POTENTIAL IN BRUECKNER THEORY." International Journal of Modern Physics E 21, no. 02 (2012): 1250010. http://dx.doi.org/10.1142/s0218301312500103.

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We have shown that the commonly used series expansion given by Greenlees et al. and Scheerbaum for calculating the spin-orbit potential is not rapidly convergent and that exact calculation of the dominant direct part can be easily done. Our exact calculation of the microscopic optical potential for the scattering of protons from 40 Ca and 208 Pb at 65 MeV and 200 MeV shows that the direct part is substantially different from the results using series expansion. Our results show that the spin-orbit potential affects the cross-section even at intermediate angles specially at high energies. The re

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15

Condello, Annette. "Garish Luxury and the “Constructed Landscape”: Transcending the Colour of Opals in the Griffins’ Capitol Theatre." Arts 7, no. 4 (2018): 58. http://dx.doi.org/10.3390/arts7040058.

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Walter Burley Griffin and Marion Mahony Griffin synthesized a modern crystallized interior within their Capitol Theatre design (1920–24) in Melbourne. The Capitol’s auditorium, a mine-like cavity, houses a constructed landscape, elucidating the link between architecture and geological references. Ornamented with prefabricated stepped plasterwork, the auditorium is inserted with opal-coloured light technologies. Through the concept of the “constructed landscape”, this article traces the garish luxury elements found within the Griffins’ Capitol auditorium to understand the design associations be

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16

Dernie, David. "The Symbolist interior and crystal imagination." Architectural Research Quarterly 17, no. 2 (2013): 157–66. http://dx.doi.org/10.1017/s1359135513000511.

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Transparency, translucency and surface reflectance are material qualities that underpin modernist aesthetics. The lightness and transparency of buildings remain manifestly contemporary and the walls of our cities continue to open up, as the default material of choice is glass. From London to Los Angeles, from the Shard to the Crystal Mall, the potency and immateriality of the crystal image is a liberation of the modern imagination. This paper concerns the crystal imagination as represented in the architectural interiors and poetry of Belgian symbolism. During the last decade of the nineteenth

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17

Keller, Claudia. "Fausts Vergessen." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, no. 1 (2017). http://dx.doi.org/10.28937/1000107639.

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Der Beitrag verfolgt anhand von Gottfried Keller, Gottfried Semper, Walter Benjamin, Paul Scheerbart und Bruno Taut die subkutanen Wirkungen von Goethes Faust II für eine Ästhetik des Lebendigen in der Moderne. Gespeist von der Morphologie und der Farbenlehre wird Faust in dieser Ästhetik mit den Kategorien der Farbe und Beweglichkeit verbunden und dient der Etablierung eines alternativen Zusammenhangs von Tradition und Moderne. Drawing on examples by Gottfried Keller, Gottfried Semper, Walter Benjamin, Paul Scheerbart and Bruno Taut, the paper pursues the subcutaneous impacts of Goethe’s Faus

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18

"Glass! Love!! Perpetual motion!!!: a Paul Scheerbart reader." Choice Reviews Online 52, no. 07 (2015): 52–3537. http://dx.doi.org/10.5860/choice.188335.

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19

Iehl, Yves. "Les Novelettes astrales (1912) ou l’utopie subversive de Paul Scheerbart." ReS Futurae, no. 16 (June 10, 2019). http://dx.doi.org/10.4000/resf.8658.

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20

Noizet, Vanessa. "Visionäre der Moderne / Modern Visionaries (Paul Scheerbart, Bruno Taut, Paul Goesch)." Critique d’art, November 20, 2017. http://dx.doi.org/10.4000/critiquedart.24238.

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21

Mataveli, Danilo. "Peles de vidro." Ciência & Luta de Classes 5, no. 4 (2021). http://dx.doi.org/10.54025/clc.v5i4.11.

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Resumo: Este ensaio apresenta a cultura do vidro profetizada pelo escritor Paul Scheerbart como alegoria do desenvolvimento capitalista. Faz uma leitura dos conceitos de experiência e aura em trabalhos de Walter Benjamin e a sua possível associação à categoria do trabalho. A observação parte principalmente dos ensaios “Experiência e pobreza” (1933) e “A obra de arte na época da sua reprodutibilidade técnica” (1936). Conclui que os conceitos de experiência e aura são indissociáveis e avalia a sua modificação a partir das transformações das condições materiais do trabalho na sua relação com o de

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22

Barbisan, Léa. "Vivre la transparence." Corps contemporain et espace vécu, October 24, 2017. http://dx.doi.org/10.7202/1048845ar.

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Au début du XXe siècle, la maison de verre fascine nombre d'artistes et d'écrivains de l'avant-garde européenne. Dans le contexte de la densification urbaine, l'idéal d'un habitat aux murs transparents interroge la valeur de l'intime et l'attachement au foyer. Le rêve d'un espace entièrement ouvert, où s'aboliraient les frontières entre l'intérieur et l'extérieur, le local et l'universel, le privé et le commun, traverse les textes de Paul Scheerbart, d'André Breton et de Walter Benjamin. D'utopie esthétique, la maison de verre devint, au gré de ses évolutions, utopie politique, pour finalement

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23

Brunn, Clemens. "Über Paul Scheerbart. 100 Jahre Scheerbart-Rezeption in drei Bänden. In Zusammenarbeit mit Katja Rauschenberg hg. v. Paul Kaltefleiter (Kölner Arbeiten zur Jahrhundertwende Bd. 1, 4 und 11) (Literatur- und Medienwissenschaft 11, 30 und 60). Igel Verlag, Paderborn 1992 u. 1996, Oldenburg 1998." Zeitschrift für deutsche Philologie, no. 4 (October 1, 1999). http://dx.doi.org/10.37307/j.1868-7806.1999.04.14.

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24

Culéa-Hong, Eliza. "« On vit dans une utopie ; ce n’est juste pas la nôtre. » De More à Miéville : activisme, spatialité et métamorphose du registre utopique." K@iros, no. 5 (2021). http://dx.doi.org/10.52497/kairos.533.

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Abstract: Since the 1960s, it is more common to encounter criticism rather than praise for utopian ideas. In 1964, while moderating a debate between Ernst Bloch et Theodor Adorno, Horst Krüger stated that « [today] the word ‘utopia’ does not have a good sound to it ». Twenty years later, art historian Robert Hughes goes even further by saying that the xxth century was full of utopian propositions: « drawn, designed, sometimes even built, and in the process it was shown that ideal cities don’t work […]. It seems that like plants we do need the shit of others for nutriments ». However, after dec

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