| Sorted by date | |||
page146from Nordic Architects Writes
temple, which is mainly intended to be seen
from the outside (interior is really only a superfluous empty space lighted
only through the entrance) – that represents the preliminary stages on the
route to the flowing, dynamic sense of space which is expressed so consummately
in his mezzanined villa interiors. In the Gothic cathedral the eye is not drawn
exclusively to the absorbing vertical movement of the nave; one also seeks out,
between a forest of columns, the side aisles, the transept, the rich garland of
chapels surrounding the choir, and everywhere a bewildering wealth of
perspectives is perceived, a stimulating play of light and shadow. And how
typical of Baroque that the splendid, imposing stairwell became the favourite
subject of its secular architecture; the stairwell, where movement is the soul
and the beauty of its constantly changing perspective can only be fully
appreciated during a “promenade architecture”. That is the genealogy of modern
spatial expression; the Parthenon plays no part in it, nor the Pantheon.
(An
historic predecessor of Le Corbusier’s great mezzanined living room is found,
incidentally, in the Hanseatic burgher’s “Diele”, the spacious two-storey hall
with its views of the adjoining rooms, its balconies, spiral staircase and large
windows; sometimes one could, in fact, speak of a glass wall.)
Why this deep concern with Le Corbusier,
why argue with him? Because he is one of the spiritual leaders of our times
who, in his field, has meant as much as Freud, for example, did in his. One
cannot make light of his achievements, as they have tried to in Germany, any
more than psychoanalysis can be spirited away. You can conquer a continent but
you can’t force it to read German type, and the Germans have had to learn this.
It
would not be surprising if one fine day the Germans sounded the retreat on this
point, as they have on the question of German type; they might even proclaim
that the new architecture is actually their discovery! And they would do so
with a certain justification: Jahrhunderthalle at Breslau showed decades ago
that monumental effects can be achieved with modern constructions, and no other
country put so-called Functionalism into effect so early or on such a large
scale in residential buildings. This last may well have contributed to the
reaction in Germany: the public was not ripe to accept so much that was new and
the architects were not ready to use the new forms rightly. How different it
was in France, for instance! At that time – during the 1920s – there were only
a few art enthusiasts there who had villas built for them according to the
modern construction forms. France lacked a counterpart to the innumerable
settlements which sprang up like mushrooms on the outskirts of all large and
medium-sized German towns.
|
|||
|
|||
|
|
At 2021-11-02 20:28:57,
page000
Paula Noronen
Yökoulun Pieni Kauhukäsikirja
kuvitus
Kati Närhi
Tammi
... ...
At 2021-09-28 09:43:54,
page0013
Ruoka
Kakkua pullaa, leipää ja
... ...
At 2021-09-27 15:05:39,
page0012
... ...
At 2021-09-27 15:04:58,
page0011
... ...
At 2021-09-27 15:04:35,
page0010
... ...
At 2021-09-27 15:04:02,
page0009
... ...
At 2021-09-27 15:03:17,
page0008
... ...
At 2021-09-27 15:02:35,
page0007
... ...
At 2021-09-27 15:02:14,
page0006
... ...
At 2021-09-27 15:01:32,
page0005
... ...
At 2021-09-27 14:59:22,
page0000
... ...
At 2021-09-27 14:58:31,
page0000
... ...
At 2021-09-27 14:57:52,
page0000
... ...
At 2021-09-27 14:57:21,
page0000
... ...
At 2021-09-27 14:56:34,
page0000
... ...
Share to International sites:
分享到国内网站和微博
