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Conclusion

Architecture, Acting
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Keywords

Aleatory Consequence Rotate Plan Oceanic Experience Sensual Appetite Installation Artist 
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Conclusion: Architecture, Acting

  1. 1.
    Heynen, ed., Ein Ort der denkt/A Place That Thinks, 59 and 61.Google Scholar
  2. 2.
  3. 3.
    Fritz Tugendhat experienced his walls not as a substitute for art but as a fragment of a total artwork, the space of his villa: “The incomparable pattern of the marble, the natural grain of the wood, are not substitutes for art, but rather appear within the art, which is the sapce itself.” “(Die unvergleichliche Zeichnung des Marmors, die natürliche Masserung des Holzes sind nicht an die Stelle der Künst getreten, sie treten in der Kunst auf, im Raum, der heir Kunst ist.”) Fritz Tugendhat, “Kann man im Haus Tugendhat wohnen?” in Die Form: Zeitschrift für gestaltende Arbeit VI,11 (November 1931): 437–38. Translation by the authors.Google Scholar
  4. 4.
    “[T]he Barcelona Pavilion distracts the entranced observer from what is troubling elsewhere. This is an architecture of forgetting.” Evans, “Mies van der Rohe’s Paradoxical Symmetries,” 268.Google Scholar
  5. 5.
    Bertold Brecht, “Short Description of a New Technique of Acting which Produces an Alienation Effect,” in Brecht on Theatre: The Development of an Aesthetic, ed. and trans. John Willett (New York: Hill and Wang, 1964), 136–47.Google Scholar

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© Princeton Architectural Press 2005

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