By Therese Tierney
This visually lovely, conceptually wealthy and ingenious booklet investigates the cultural connection among new media and architectural imaging. via a number of fabric, from theoretical texts to experimental layout tasks, Tierney explores notions of what the architectural photo potential today.
Within the book’s visually creative layout framework, summary house engages discourses from structure, visible and cultural reviews to laptop technological know-how and communications expertise to offer an in-depth multi-media case research. Tracing a provisional historical past of the subject, the booklet additionally lends a provocative and multivalent realizing to the advanced kinfolk affecting the architectural snapshot this day.
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Additional resources for Abstract Space: Beneath the Media Surface
Reynold’s treatise was a refinement on the dramatist and art critic, Gotthold Ephraim Lessing’s earlier essay, Laokoon (1766). Lessing contrasted painting’s singular moment of perception with the temporality of poetry. 7 Both Reynolds and Lessing agreed on promoting rigid or inviolable media boundaries and were unable to entertain the possibility that media might be combined. Although Reynolds and Lessing were certainly influential, the leading figure of twentiethcentury arts criticism, Clement Greenberg, was ultimately responsible for many of our accepted conventions about aesthetics.
Qxd 25/1/07 11:01 am 36 Page 36 Abstract Space Visible thinking: Descartes’ legacy The hierarchical structure of intellectual or professional knowledge continued through the Middle Ages up to the time of the Renaissance. However, this social positioning was about to realign itself with the rise of humanist thought. 15 Aside from a move to render objects (in space) more “realistic,” this analytical method of positioning objects in space was an attempt to elevate architecture from a craft to an intellectual activity by equating it with a mathematical system.
In this case, the term “image” will be used to describe architectural drawings, whether analogue or digital, photographs, renderings, animations, or new media. While in the past a few visionary architects, most notably Giovanni Battista Piranesi (1745), Etienne-Louis Boullée (1784), and Antonio Sant’Elia (1914), had for varying reasons experimented with redefining architectural drawings as products or media, it is worthwhile reinvestigating art’s response to technology’s challenge of immateriality, which invites comparison with the current architectural discourse.
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