“At the Threshold of Silence”: Le Corbusier, “Le Parthénon,” and the Vision of Antiquity

2021 ◽  
Vol 103 (4) ◽  
pp. 85-110
Author(s):  
Andrea Guerra
Keyword(s):  
TERRITORIO ◽  
2017 ◽  
pp. 50-57
Author(s):  
Giancarlo Consonni ◽  
Graziella Tonon
Keyword(s):  

2009 ◽  
Vol 42 (1) ◽  
pp. 215-218
Author(s):  
Yannis Tsiomis
Keyword(s):  

Author(s):  
Jocelyn Szczepaniak-Gillece

This chapter discusses the movie palace’s decline and the beginnings of the neutralized movie theater from the 1920s to 1932. While much scholarship has attributed the transition to either economics after the Depression or the emergence of sound, the chapter argues for the importance of modernist architectural trends, such as the work of Le Corbusier, and new dimensions of spectatorship invested in attention. Modern machine culture reinforced the need for a theater structure that would make spectators into parts of a filmic assembly line. Ben Schlanger emerges as the loudest voice of neutralization, demanding a “slaughtering” of unnecessary decoration in the urban movie theater. His and multiple lighting designers’ work with light and darkness in the theater exemplify the upheavals in 1920s–1930s exhibition: from a theater with a panoply of effects to one centered on the dramatic play of light and dark within the film and its environment.


2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Rudy Trisno ◽  
Fermanto Lianto

AbstractJapanese architecture retains the characteristic of appreciating its culture, despite the growing influence of Western architecture. Based on this issue, it is a very interesting area to study to understand the design concepts behind two masterpieces from the world’s architects Kisho Kurokawa and Tadao Ando. This study uses a qualitative method by analyzing theories and case studies in the work of the architects Kisho Kurokawa and Tadao Ando. It conducts the following detailed analyses; (a) Western architects who influenced both design concepts; (b) The primary considerations of the two architects in facing the demands of the times. The study concludes that Kisho Kurokawa was influenced by Kenzo Tange, while Tadao Ando has been influenced by Le Corbusier and Louis Khan. The primary consideration of Kisho Kurokawa is Hanasuki, while for Tadao Ando it is Shintai. The findings in this study are that the two architects in the design concept were inspired by Japanese culture, where Japanese culture is influenced by the philosophy of Lau Tze and Confucius.


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