Art and Architecture of Ireland Volume V: Twentieth Century

2014 ◽  
Keyword(s):  
Twentieth Century ◽  
Art And Architecture

scholarly journals Mundane beauty in art and architecture

2017 ◽  
Vol 11 ◽  
pp. 196-201
Author(s):  
Angela Juarranz
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Design Process ◽  
Specific Kind ◽  
Mies Van Der Rohe ◽  
Art And Architecture

In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

IMPERIAL MISE EN VALEUR AND MISE EN SCÈNE: RECENT WORKS ON FRENCH COLONIALISM

2002 ◽  
Vol 45 (4) ◽  
pp. 917-936 ◽  
Author(s):  
ROBERT ALDRICH
Keyword(s):  
Twentieth Century ◽  
Education Policy ◽  
French Language ◽  
Colonial History ◽  
National History ◽  
Colonial Policy ◽  
Mise En Scene ◽  
French Colonial ◽  
Imperial Governance ◽  
Art And Architecture

This review looks at English- and French-language books on nineteenth- and twentieth-century French colonial history published since 1995. It considers issues of ideology, imperial governance, the mise en valeur (development and ‘improvement’) of colonies (for instance, in health and education policy), the representation of empire in art and architecture, and decolonization. Special attention is paid to Indochina. Recent works have stressed the evolving nature of colonial policy and its adaptability to local circumstances. The review notes a certain divide between works emphasizing the discursive aspect of empire, and more ‘materialist’ treatments, but remarks on a general renewal of interest in colonial history. Contemporary scholars have also given colonial history a more prominent position in French national history than it previously held.

Re-discovering the Creative Collage in the Architectural Representation

IDEA JOURNAL ◽  
1969 ◽  
pp. 81-102
Author(s):  
Seungkoo Jo Tongmyong
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
New Order ◽  
Critical Questions ◽  
Architectural Representation ◽  
Artistic Representation ◽  
Art And Architecture

Collage has been termed the most important artistic device of the twentieth century in artistic representation. Collage proposed radically different ideas about the nature of order, and about the nature of artistic space. It is not limited to the visual arts, but also provides a means of contending with a diverse sense of order by association and dependence on the relationships of disparate elements, not necessarily the elements themselves. It is a unique means of presentation that has had a profound effect on art and architecture. This paper raises two critical questions: which new order does collage propose? How has the idea of collage affected the making of architecture? As a means of understanding the implications of collage as a method of representation, this study aims to describe how these principles – order, relationships, and communication – have been used in the contemporary architectural representation.

scholarly journals Zaha Hadid's Arum installation

2018 ◽  
Author(s):  
Amadeo Gatti Galdino ◽  
Maria de Fatima Morethy Couto
Keyword(s):  
Twentieth Century ◽  
Aesthetic Quality ◽  
Structural Research ◽  
Art And Architecture

The present study analyzes the Arum Installation by architect Zaha Hadid (1950-2016) exhibited at the 2012 Venice Architecture Biennale. Therefore, we divided the installation in five sections with distinct subjects, with the aim of discussing its proposals and plastic aspects, since Hadid’s work is marked by a distinctive aesthetic quality. According to its official description, the installation had as an objective to insert the Zaha Hadid Architects in a research lineage, succeeding architects from the twentieth century, pioneers in structural research; thus, a part of our research discusses in what ways the installation is succesful in exposing and reaching this objective. Finally, we point to the tension that occurs between art and architecture in Zaha’s work and carreer, parting from considerations about her paintings, exhibition designs and curatorships, and the readiness with which some of the commentators of her work call her an “artist”.

scholarly journals Lessons from Objects: Designing a Modern Hungarian Childhood 1890-1950

2016 ◽  
Vol 8 ◽  
pp. 79-96
Author(s):  
Amber Winick
Keyword(s):  
Twentieth Century ◽  
National Culture ◽  
School Architecture ◽  
Public And Private ◽  
Political Forces ◽  
Book Illustrations ◽  
Art And Architecture ◽  
Private Collections ◽  
Selection Of ◽  
The Ideal

Art and architecture assisted Hungary’s delivery into modern Europe, and many Hungarian designs of the early twentieth century invoked the child rather than the adult as the ideal citizen. Throughout the first half of the twentieth century, Hungarian designers, design reformers and the Ministry of Culture and Education expressed national identity through design, emphasizing objects and spaces for children as a key element in defining a national culture. This research unfolds a vital dimension of Hungarian culture by examining a selection of objects and spaces—nursery designs, children’s clothing, school architecture, the Budapest Zoo and book illustrations—made for Hungary’s children during different periods of the last century. Working in partnership with the Iparművészeti Múzeum—the Museum of Applied Arts in Budapest—as well as several public and private collections across Hungary, I researched a number of important children’s designs that helped to shape the lives and experiences of twentieth century Hungarian children.  Central to my research is how social and political forces shaped designs and how these designs helped children identify as Hungarian citizens. Looking at five material case studies, I hope to demonstrate the ways in which designers negotiated issues of Hungarian identity, tradition, and modernity.

scholarly journals Ratio and the Divine Proportions: Le Corbusier and Rudolf Wittkower

2015 ◽  
Author(s):  
James Kirk Irwin
Keyword(s):  
Twentieth Century ◽  
Number System ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Human Form ◽  
Renaissance Architecture ◽  
Harmonic Proportions ◽  
Late Twentieth ◽  
Art And Architecture ◽  
Late Twentieth Century

Abstract: This paper will evaluate Le Corbusier’s notion of ratio as expressed in his Modulor and Modulor 2. Particular emphasis will be placed on the dialogue (or polemical exchange) between Rudolf Wittkower and Le Corbusier contained within Modulor 2 concerning the nature of the Divine Proporzione. The historiography of this area of art and architecture includes a vigorous debate from the mid-twentieth century among Modernist architects and art historians over the nature of the Divine Proportions. It is in this context that the dialogue between Le Corbusier and Wittkower occurs. Le Corbusier describes human form with a Fibonacci-based number system expressed through a universally applied system of measure, Le Modulor. Wittkower describes a set of harmonic proportions, conceptually universal, that describe the essence of Renaissance Architecture. Both influenced the course of Modern Architecture in the late twentieth-century.  Keywords: Le Modulor, Wittkower. DOI: http://dx.doi.org/10.4995/LC2015.2015.743

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