Through a series of close readings of two major figures of the modern movement, Adolf Loos and Le Corbusier, Beatriz Colomina argues that architecture only becomes modern in its engagement with the mass media, and that in so doing it radically displaces the traditional sense of space and subjectivity. Privacy and Publicity boldly questions certain ideological assumptions underlying the received view of modern architecture and reconsiders the methodology of architectural criticism itself. Where conventional criticism portrays modern architecture as a high artistic practice in opposition to mass culture, Colomina sees the emerging systems of communication that have come to define twentieth-century culture—the mass media—as the true site within which modern architecture was produced. She considers architectural discourse as the intersection of a number of systems of representation such as drawings, models, photographs, books, films, and advertisements. This does not mean abandoning the architectural object, the building, but rather looking at it in a different way. The building is understood here in the same way as all the media that frame it, as a mechanism of representation in its own right. With modernity, the site of architectural production literally moved from the street into photographs, films, publications, and exhibitions—a displacement that presupposes a new sense of space, one defined by images rather than walls. This age of publicity corresponds to a transformation in the status of the private, Colomina argues; modernity is actually the publicity of the private. Modern architecture renegotiates the traditional relationship between public and private in a way that profoundly alters the experience of space. In a fascinating intellectual journey, Colomina tracks this shift through the modern incarnations of the archive, the city, fashion, war, sexuality, advertising, the window, and the museum, finally concentrating on the domestic interior that constructs the modern subject it appears merely to house.
52 Stephen Kieran and James Timberlake , “ Paradise Regained , ” Architecture 80 ( December 1991 ) : 48–51 ; the quotation is on pages 48–49 .
... Joe, 211 Kelly, William, 12 Kieran Timberlake, 28, 29 killed steels, 22 Kure Beach (North Carolina), weathering evaluated in, 275 M machining, 225–226, ...
Brender, Jean D., Juliana A. Maantay, and Jayajit Chakraborty. 2011. ... Chris Frost, Katharine Ker, Rebecca Steinbach, Ian Roberts, and Reinhard Wentz.
In the Army and the Navy, everyone had both line and staff duties. Line duty was your primary mission—say, as a gunnery officer—which you did while being ...
... The Faison School for Autism is a unique and welcoming learning environment that encompasses the needs of its students, staff, and families alike.
"A must for practitioners and students alike, Manual brings the process of design and details of architecture to life, revealing the beauty of building derived from composition within a tradition of innovative assembly."--BOOK JACKET.
Projects in this book include a house made from prefabricated modules in rural California that minimally disturbed its picturesque site; a major renovation of Philadelphia's Dilworth Park in front of City Hall; Cellophane House (TM), a ...
This thought-provoking book presents a compelling argument for moving architecture from a part-by-part, linear approach to an integrated one that brings together technology, materials, and production methods.
Through a series of questions, the book explores several of KieranTimberlake's ongoing research agendas including speed of on-site assembly, design for disassembly, a holistic approach to the life cycle of materials, and the development of ...
Through the use of state-of-the-art building information modeling, the architects were able to streamline the design-build process. This is a manual for the componentized prefab.