The Architectural Uncanny

Focusing on the work of architects such as Bernard Tschumi, Rem Koolhaas, Peter Eisenman, Coop Himmelblau, John Hejduk, Elizabeth Diller, and Ricardo Scofidio, as well as theorists of the urban condition, Vidler delineates the problems and ...

The Architectural Uncanny

The Architectural Uncanny

Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally "unhomely" modern condition. The Architectural Uncanny presents an engaging and original series of meditations on issues and figures that are at the heart of the most pressing debates surrounding architecture today. Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally "unhomely" modern condition. The essays are at once historical—serving to situate contemporary discourse in its own intellectual tradition and theoretical—opening up the complex and difficult relationships between politics, social thought, and architectural design in an era when the reality of homelessness and the idealism of the neo-avant-garde have never seemed so far apart. Vidler, one of the deftest and surest critics of the contemporary scene, explores aspects of architecture through notions of the uncanny as they have been developed in literature, philosophy, and psychology from the beginning of the nineteenth century to the present. He interprets the unsettling qualities of today's architecture—its fragmented neo-constructivist forms reminiscent of dismembered bodies, its "seeing walls" replicating the passive gaze of domestic cyborgs, its historical monuments indistinguishable from glossy reproductions - in the light of modern reflection on questions of social and individual estrangement, alienation, exile, and homelessness. Focusing on the work of architects such as Bernard Tschumi, Rem Koolhaas, Peter Eisenman, Coop Himmelblau, John Hejduk, Elizabeth Diller, and Ricardo Scofidio, as well as theorists of the urban condition, Vidler delineates the problems and paradoxes associated with the subject of domesticity.

The architectural uncanny

The architectural uncanny

The architectural uncanny


Visual Culture and the Holocaust

james E. Young Freud may have described such a phenomenon best: "This uncanny is in reality nothing new or alien, ... After Anthony Vidler's magnificent reading of the ” architectural uncanny, ” I would also approach what I am calling ...

Visual Culture and the Holocaust

Visual Culture and the Holocaust

A book that looks at both the traditional and the unconventional ways in which the holocaust has been visually represented. The purpose of this volume is to enhance our understanding of the visual representation of the Holocaust - in films, television, photographs, art and museum installations and cultural artifacts - and to examine the ways in which these have shaped our consciousness. The areas covered include the Eichman Trial as covered on American television, the impact of Schindler's List, the Jewish Museum in Berlin, the Isreali Heritage Museums, Women and Holocaust Photography, Internet Holocaust sites and tattoos and shrunken heads, the bodies of the dead and of the survivors.>

Warped Space

He is the author of The Architectural Uncanny ( MIT Press , 1992 ) . " ... a dazzling display of erudition that ranges across philosophy , psychology , literary theory and art criticism . ” —Murray Fraser , The Architects ' Journal “ In ...

Warped Space

Warped Space

How psychological ideas of space have profoundly affected architectural and artistic expression in the twentieth century. 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.

At Memory s Edge

After Anthony Vidler's magnificent reading of the " architectural uncanny , " I would also approach what I am calling an " uncanny memorial architecture " as " a metaphor for a fundamentally unlivable modern condition .

At Memory s Edge

At Memory s Edge

How should Germany commemorate the mass murder of Jews once committed in its name? In 1997, James E. Young was invited to join a German commission appointed to find an appropriate design for a national memorial in Berlin to the European Jews killed in World War II. As the only foreigner and only Jew on the panel, Young gained a unique perspective on Germany's fraught efforts to memorialize the Holocaust. In this book, he tells for the first time the inside story of Germany's national Holocaust memorial and his own role in it. In exploring Germany's memorial crisis, Young also asks the more general question of how a generation of contemporary artists can remember an event like the Holocaust, which it never knew directly. Young examines the works of a number of vanguard artists in America and Europe--including Art Spiegelman, Shimon Attie, David Levinthal, and Rachel Whiteread--all born after the Holocaust but indelibly shaped by its memory as passed down through memoirs, film, photographs, and museums. In the context of the moral and aesthetic questions raised by these avant-garde projects, Young offers fascinating insights into the controversy surrounding Berlin's newly opened Jewish museum, designed by Daniel Libeskind, as well as Germany's soon-to-be-built national Holocaust memorial, designed by Peter Eisenman. Illustrated with striking images in color and black-and-white, At Memory's Edge is the first book in any language to chronicle these projects and to show how we remember the Holocaust in the after-images of its history.

The Unknown City

Contesting Architecture and Social Space Iain Borden, Joe Kerr, Alicia Pivaro, Jane Rendell ... 6 For outstanding readings of architectural practices and the uncanny , see Anthony Vidler , The Architectural Uncanny : Essays in the ...

The Unknown City

The Unknown City

A look beyond design process and buildings aimed at discovering new ways of looking at the urban experience.

PERCEPTION in Architecture

In this sense the diagram is both the instrument of thought and its mirror.”11 In the interplay between the known and the unknown in such design graphics, he also recognises what he calls the “architectural uncanny”:12 The anxiety ...

PERCEPTION in Architecture

PERCEPTION in Architecture

Definitions of space are as diverse as the disciplines in which it plays a fundamental role; from science and philosophy to art and architecture, each field’s perception of space is often simplified or reduced. This consequently denies access to ‘new spaces’, whose definitions and perspectives, strategies and impacts on human perception are rarely considered in any cohesive manner. This is where the Aedes Network Campus Berlin (ANCB) programme ‘No Space Without Traits’ came in: particularly through artistic approaches, it aimed to open doors into spatial worlds that until now have remained closed. The symposium ‘PERCEPTION in Architecture. HERE and NOW’ was part of this programme and invited critical and comprehensive contributions by academics, artists, architects, designers and curators. These presentations are brought together in this volume to reflect upon new spatial concepts and thus access ‘new spaces’ of perception in architecture. The symposium stimulated a discourse focused on spaces as a collective entity, notions of spatial truth, the multiplicity of experience, and Wahrnehmnungsapparate, as well as physical, visual, acoustic and virtual manifestations of space in relation to social, cultural, historical and political forces.

Theorizing a New Agenda for Architecture

An Anthology of Architectural Theory 1965 - 1995 Kate Nesbitt. 46 The architect in a lecture at the University of Virginia , 1993 . ... 50 Anthony Vidler , The Architectural Uncanny ( Cambridge : MIT Press , 1992 ) , 79 .

Theorizing a New Agenda for Architecture

Theorizing a New Agenda for Architecture

Theorizing a New Agenda for Architecture: An Anthology of ArchitecturalTheory collects in a single volume the most significant essays on architectural theory of the last thirty years. A dynamic period of reexamination of the discipline, the postmodern eraproduced widely divergent and radical viewpoints on issues of making, meaning, history, and the city. Among the paradigms presented arearchitectural postmodernism, phenomenology, semiotics, poststructuralism, deconstruction, and feminism. By gathering these influential articles from a vast array of books and journals into a comprehensive anthology, Kate Nesbitt has created a resource of great value. Indispensable to professors and students of architecture and architectural theory, Theorizing a New Agenda also serves practitioners and the general public, as Nesbitt provides an overview, a thematic structure, and a critical introduction to each essay. The list of authors in Theorizing a New Agenda reads like a "Who's Who" of contemporary architectural thought: Tadao Ando, Giulio Carlo Argan, Alan Colquhoun, Jacques Derrida, Peter Eisenman, Marco Frascari, Kenneth Frampton, Diane Ghirardo, Vittorio Gregotti, Karsten Harries, Rem Koolhaas, Christian Norberg-Schulz, Aldo Rossi, Colin Rowe, Thomas Schumacher, Ignasi de Sol-Morales Rubi, Bernard Tschumi, Robert Venturi and Denise Scott Brown, and Anthony Vidler. A bibliography and notes on all the contributors are also included.

Surrealism and Architecture

He finally claims : " The uncanny is a key to understanding both modernity and so - called postmodernity . " 20 Against this global claim , a more telling proposal for Cornell : the uncanny begins at home . In The Architectural Uncanny ...

Surrealism and Architecture

Surrealism and Architecture

Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.

Freud for Architects

Vidler's The Architectural Uncanny, 1992, and Warped Space, 2000, are important points of reference for psychoanalytically informed interpretations of art and architecture, particularly modern architecture. As mentioned in Chapter 1, ...

Freud for Architects

Freud for Architects

Freud for Architects explains what Freud offers to the understanding of architectural creativity and architectural experience, with case examples from early modern architecture to the present. Freud’s observations on the human psyche and its influence on culture and social behavior have generated a great deal of discussion since the 19th century. Yet, what Freud’s key ideas offer to the understanding of architectural creativity and experience has received little direct attention. That is partly because Freud opened the door to a place where conventional research in architecture has little traction, the unconscious. Adding to the difficulties, Freud’s collection of work is vast and daunting. Freud for Architects navigates Freud’s key ideas and bridges a chasm between architecture and psychoanalytic theory. The book highlights Freud’s ideas on the foundational developments of childhood, developments on which the adult psyche is based. It explains why and how the developmental stages could influence adult architectural preferences and preoccupations, spatial intuition, and beliefs about what is proper and right for architectural design. As such, Freud for Architects will be of great interest to students, practitioners, and scholars in a range of disciplines including architecture, psychoanalysis, and philosophy.

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