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Windows and Other Weaknesses
Luke 10:38
Cadbury-Brown, “Ludwig Mies van der Rohe: An Address of Appreciation,” 26–46.
Turnovsky has written a small but brilliant pamphlet demonstrating Ludwig Wittgenstein’s heroic and futile attempt to transfer geometric purity into material form in the design of his sister’s villa in Vienna. See Jan Turnovsky, Bauwelt Fundamente 77: Die Poetik eines Mauervorsprungs (Braunschweig: Friedr. Vieweg & Sohn, 1987), 15.
Barry Bergdoll, “The Nature of Mies’s Space” in Riley and Bergdoll, Mies in Berlin, 88–89.
For a brief discussion of Cartesian perspectivalism, as well as competing visual paradigms, see Martin Jay, “Scopic Regimes of Modernity,” in Vision and Visuality, ed. Hal Foster, (Seattle: Bay Press, 1988), 3–23. Cartesian perspectivalism is summarized on page 15.
The principal text on the anamorphosis is Jurgis Baltrusaitis, Anamorphic Art, trans. Walter Strachan (New York: Harry N. Abrams, 1977).
Martin Jay contrasts the use of the flat mirror in analytic perspective to that of the curved mirror in the anamorphosis. The flat mirror played an important role in Brunelleschi’s famous demonstration of the illusionistic power of linear perspective, where the image of the sky reflected in the mirror and the architecture of the painting merged seamlessly into one coherent image. In the anamorphosis, the image in the (curved) mirror is precisely not the same as the painted image; rather, the mirror effects a transformation and decoding of the painted image. See Jay, “Scopic Regimes of Modernity,” 17.
Charles Baudelaire, “Windows,” in The Parisian Prowler: Le Spleen de Paris, Petits Poèmes en Prose, trans. Edward K. Kaplan (Athens: University of Georgia Press, 1989), 93.
Victor I. Stoichita, The Self-Aware Image: An Insight into Early Modern Meta-Painting, (Cambridge: University of Cambridge Press, 1997), 3.
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(2005). Windows and Other Weaknesses. In: Mies van der Rohe The Krefeld Villas. Princeton Archit.Press. https://doi.org/10.1007/1-56898-658-0_5
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