- Taschenbuch: 300 Seiten
- Verlag: B&T; Auflage: Reprint (1. Februar 2002)
- Sprache: Englisch
- ISBN-10: 0262720418
- ISBN-13: 978-0262720410
- Vom Hersteller empfohlenes Alter: Ab 22 Jahren
- Größe und/oder Gewicht: 23 x 17,5 x 1,8 cm
- Amazon Bestseller-Rang: Nr. 141.759 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Kurzbeschreibung
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality.Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience--perhaps even the subject itself--of architecture.
Synopsis
Beginning with agoraphobia and claustrophobia in the late 19th century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concered with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the 19th century to 20th century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer and Walter Benjamin.Focusing on current conditions of displacment and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production and experience - perhaps even the subject itself - of architecture.
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3 Rezensionen
14 von 14 Kunden fanden die folgende Rezension hilfreich
abnormal psychology
29. November 2002
Format:Gebundene Ausgabe
As the title indicates, Vidler's recent publication guides us to see the underlying forces that caused warping and irregularity in contemporary architecture. Beginning with defining various conceptions of 'phobias', Vidler navigates us into the realm of abnormal psychology. Critical theorists, such as Georg Simmel and Walter Benjamin, are also introduced to interweave the ideas of 'estrangement' and 'flaneur(metropolitan nomad wandering unconsciously)'. In so doing, he allows readers to understand underlying mindset behind the buildings of Libeskind, Himmelblau, and Eric Owen Moss.
12 von 21 Kunden fanden die folgende Rezension hilfreich
timely assessment
15. April 2001
Format:Gebundene Ausgabe
This is among the books that has given me a wholistic view of the design field- combining aspects of culture and society at the subliminal framework of understanding. It is a good read and very objective in its approach. I personally enjoy criticism and have read books by Victor Margolin and this one analyses the merits and demerits of a field that draws influences and in turn influences a wider spectrum of issues. It is interesting to perceive the manner in which the book uses a synchronic approach to arrive at a very comprehensive analysis of the current day status. For a young designer this book gives a lot of thought to treating design as a part of a larger framework. It forces one to think on larger issues that can be solved through design.
3 von 20 Kunden fanden die folgende Rezension hilfreich
Neotextual Material Theory
10. Mai 2008
Format:Taschenbuch
If one examines modernism, one is faced with a choice: either reject dialectic discourse or conclude that context comes from the masses, but only if consciousness is interchangeable with culture; if that is not the case, we can assume that the goal of the writer is deconstruction. In a sense, the premise of Sartreist absurdity suggests that society, somewhat paradoxically, has objective value. The example of dialectic discourse which is a central theme of Vidler's Warped Spaces ir Dogs is also evident in Hanfkopf's Narratives of Stasis, although in a more semanticist sense.
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