By Hilde Heynen
"Architecture and Modernity strains probably the most very important moments of the discourse at the `crisis' of structure caused via the adjustments of modernity." -- Beatriz Colomina, university of structure, Princeton college severe theories equivalent to these of the Frankfurt college of the twenties and thirties gave upward thrust to a posh and complex critique of modernity and modernism. The historical past and conception of twentieth-century structure, which built quite independently of this wealthy culture, look naive and unbalanced compared. during this exploration of the connection among modernity, residing, and structure, Hilde Heynen makes an attempt to bridge this hole among the discourse of the fashionable circulate and cultural theories of modernity. On one hand, she discusses structure from the point of view of serious idea, and at the different she changes positions inside severe idea through linking them with structure. She assesses structure as a cultural box that constructions everyday life and that embodies significant contradictions inherent in modernity, arguing that structure still has a undeniable ability to undertake a severe stance vis-?-vis modernity. along with providing a theoretical dialogue of the relation among structure, modernity, and residing, the publication presents architectural scholars with an advent to the discourse of serious concept. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice tuition (Tafuri, Dal Co, Cacciari) may be studied independently.
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Extra resources for Architecture and Modernity: A Critique
26 The result is that a mutual relation is created between the new concept of space and a social reality that is also characterized by interpenetration in many areas. Due to Giedion’s rhetorical strategy, it becomes clear that Durchdringung stands for a weakening of hierarchical models on all levels—social as well as architectural. Here is a key passage in which the multilayered character of the concept of Durchdringung can clearly be recognized: It seems doubtful whether the limited concept of “architecture” will indeed endure.
32 Giedion explicitly refers in this text to Sant’Elia, whose idea it was that a house should only last one generation. In the manifesto that Sant’Elia wrote with Marinetti in 1914 it is indeed stated: We have lost the sense of the monumental, of the heavy, of the static; we have enriched our sensibility by a taste of the light, the practical, the ephemeral and the swift. . An architecture so conceived cannot give birth to any three-dimensional or linear habit, because the fundamental characteristics of Futurist architecture will be obsolescence and transience.
Alexander’s holistic metaphysics is untenable if one bears in mind the philosophical developments of the last century. If these have any single characteristic in common, it is the notion that we live in a “post-metaphysical” epoch, that metaphysics, in other words, has lost all credibility. Alexander’s “theory” tends toward mysticism and has unmistakably totalitarian tendencies. In his world view there is no room for heterogeneity or difference. According to him everybody is familiar with the same “universal” feelings35 and everyone’s experiences are basically similar.