Following Norberg-Schulz: An Architectural History through the Essay Film
Autor Dr Anna Ulrikke Andersenen Limba Engleză Paperback – 25 ian 2023
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Specificații
ISBN-13: 9781350248403
ISBN-10: 1350248401
Pagini: 224
Ilustrații: 65 bw illus
Dimensiuni: 156 x 234 x 15 mm
Greutate: 0.45 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Locul publicării:London, United Kingdom
ISBN-10: 1350248401
Pagini: 224
Ilustrații: 65 bw illus
Dimensiuni: 156 x 234 x 15 mm
Greutate: 0.45 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Locul publicării:London, United Kingdom
Caracteristici
There is growing interest within architectural teaching and research in 'design-research' or 'practice-led research', particularly associated with film practices
Notă biografică
Anna Ulrikke Andersen, Post-Doctoral Researcher at the University of Oxford, UK, is a Norwegian architectural historian and filmmaker.
Cuprins
List of illustrationsFrameworkChristian Norberg-Schulz (1926-2000)The Essay form in Film and WritingItineraryAcknowledgementsMapsWindow 1 | TrondheimPlacePracticeEssay: The Sound of a Windowpane ShatteringWindow 2 | OsloPlacePracticeEssay: By the WindowWindow 3 | JourneyPlacePracticeEssay: At the Window of a TrainWindow 4 | Hamburg - BaselPlacePracticeEssay: Three Windows on Europe 1945Window 5 | RomePlacePracticeEssay: Fill in that window! Move into that Frame!Window 6 | Piazza NavonaPlacePracticeEssay: A Campari-Moment by the Water FountainWindow 7 | CalcataPlacePracticeEssay: Are we not here to Say.WindowWindow 8 | SierrePlacePracticeEssay: Les Fenêtres - en norvégienWindow 9 | OsloPlacePracticeEssay: Returned, X-rayed and ExposedWindow 10 | TrondheimPlacePracticeEssay: Beyond the Network - 'Upon' ReturnCodaAppendixChristian Norberg-Schulz's CVBooks by or about Rainer Maria Rilke in Christian Norberg-Schulz's LibraryReferences to Rainer Maria Rilke in Christian Norberg-Schulz's AuthorshipBibliographyIndex
Recenzii
Anna has demonstrated that to follow a fellow Norwegian architect of another generation, is to find similarities, to seek coincidences, to shadow, to re-enact, to track, to go along (often in faith), to act under the influence of, to act under the shadow of, to carry the weight of this person, and in so doing, to put her own writing self at risk. To follow is also to admire, to support, to understand. The book ... has qualities of a detective novel where clues are allowed to travel their distance, to expend their conclusions, and to spin more questions about the missing protagonist.
Andersen's approach is unconventional, but also compelling and timely. On the one hand, it draws on recent attempts at developing critical spatial practice in postgraduate practice-based research programs, where the designer's skillsets and creative output are utilized as research method. Simultaneously, her book is published amidst a wide-ranging questioning of the assumptions underpinning the field of architectural phenomenology. Yet Andersen manages to practice phenomenology in an open and self-reflective way, able to critically re-engage the difficulties and failings in Norberg-Schulz's approach while displaying a poetic sensibility that allows for a more refined appreciation of his position.
Anna Ulrikke Andersen's wondrous book is many things at once: a window onto the work of the Norwegian architectural theorist, an artist's probing journey of discovery and persistent self-examination, a portal to imaginative interventions that frame and reframe Norberg-Schulz's legacy from ever different angles. A true tour de force, as insightful and critically demanding as creative and aesthetically playful!
A truly original piece of work with an innovative methodology that combines archival historical research with artistic and documentary film practice. Andersen provides a situated critical evaluation of the work and ideas of an influential, yet misunderstood, figure in the history, theory and practice of 20th century architecture, approaching the subject matter with intelligence and care.
Andersen's approach is unconventional, but also compelling and timely. On the one hand, it draws on recent attempts at developing critical spatial practice in postgraduate practice-based research programs, where the designer's skillsets and creative output are utilized as research method. Simultaneously, her book is published amidst a wide-ranging questioning of the assumptions underpinning the field of architectural phenomenology. Yet Andersen manages to practice phenomenology in an open and self-reflective way, able to critically re-engage the difficulties and failings in Norberg-Schulz's approach while displaying a poetic sensibility that allows for a more refined appreciation of his position.
Anna Ulrikke Andersen's wondrous book is many things at once: a window onto the work of the Norwegian architectural theorist, an artist's probing journey of discovery and persistent self-examination, a portal to imaginative interventions that frame and reframe Norberg-Schulz's legacy from ever different angles. A true tour de force, as insightful and critically demanding as creative and aesthetically playful!
A truly original piece of work with an innovative methodology that combines archival historical research with artistic and documentary film practice. Andersen provides a situated critical evaluation of the work and ideas of an influential, yet misunderstood, figure in the history, theory and practice of 20th century architecture, approaching the subject matter with intelligence and care.