Architecture as a Performing Art by Marcia Feuerstein, Gray Read

April 3, 2017 | Media Studies | By admin | 0 Comments

By Marcia Feuerstein, Gray Read

How do structures act with humans and between humans within the performances of lifestyles? This number of essays finds a deep alliance among structure and the acting arts, uncovering its roots in historical tales, and tracing a continuing culture of proposal that emerges in modern perform. With clean perception, the authors ask how structures practice with humans as companions, instead of how they give the impression of being as formal compositions. They specialize in activities: the door that gives the opportunity of creating a dramatic front, the window that frames a scene, and town road that's reworked in carnival. The essays additionally contemplate the layout approach as a functionality improvised between many avid gamers and provide examples of contemporary perform that integrates theater and dance. This assortment advances architectural conception, background, and feedback via offering the lens of functionality with a purpose to interact the a number of roles that structures can play, with no decreasing them to useful different types. through casting structure as spatial motion instead of as static shape, those essays open a promising street for destiny investigation.For architects, the essays suggest integrating functionality into layout via playful explorations which can show excessive relationships among humans and position, and between humans in position. Such practices strengthen an architectural mind's eye that intuitively asks, "How may perhaps humans play out their tales during this place?" and "How may this position spark new stories?" Questions comparable to those dwell within the center of all the essays provided right here. jointly, they open a place within the intersection among lifestyle and staged functionality to reconsider the function of architectural layout.

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24 See Lydia Goehr, The Imaginary Museum of Musical Works; An Essay in the Philosophy of Music (New York, 2002). 25 See Pérez-Gómez, Built upon Love, pp. 173–84. 26 In Friederich Nietzsche, Untimely Meditations (Cambridge, UK, 1983). This page has been left blank intentionally 2 Performing Theōria: Architectural Acts in Aristophanes’ Peace Lisa Landrum If architecture—as a discipline—is to be understood as a performing art, then both its practice and theory must be seen as performative. That architectural theory in particular ought to be understood in a performative and, specifically, dramatic way is supported in part by etymology: “theory” being linked to and derived from the ancient Greek terms for “theater” (theatron), “spectators” (theatai), and “spectacles” (theamata), as well as the related activity of “beholding” (theaōmai) all that is wondrous and divine.

281–316. 17 Claude Nicholas Ledoux, L’architecture considérée sous le rapport de l’art, de moeurs et de la législation (Paris, 1804). 18 This is also a topic I discuss extensively in my recent book: Built upon Love; Architectural Longing after Ethics and Aesthetics (Cambridge, MA, 2008). 19 The letter in question is dated November 18, 1454. For additional information see Joan Gadol, Leon Battista Alberti, Universal Man of the Early Renaissance (Chicago, IL, 1973), pp. 111–12. 20 Antonio Averlino, “Il Filarete,” Treatise on Architecture, trans.

D. N. Howe (Cambridge, UK, 2001), p. 34. 7 Lisa Landrum, Architectural Acts: Architect-Figures in Athenian Drama and their Prefigurations, McGill University, 2010 (unpublished). 8 See, for example, Bruno Snell, The Discovery of the Mind (New York, 1960), and, more recently, Andrea W. Nightingale, Spectacles of Truth in Classical Greek Philosophy; Theōria in its Cultural Context (Cambridge, UK, 2004). P. Vitruvius, The Ten Books on Architecture, trans. H. Morgan (New York, 1960), Book 5, p. 137.

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