Known in the seventeenth century as the "quarrel of the Ancients and the Moderns"the series of debates between members of the French Academy opposed, on the one hand, those who defended the exemplarity of antiquity in the artistic and literary production of the period and, on the other, the partisans of the legitimacy of the creativity of modern artists.
The effort of the essay reflects a childlike freedom that catches fire, without scruple, on what others have already done. But what makes it one?
I could start by calling it a kind of stocktaking, an attempt at thinking about the state of critical discourse within the many forms of architectural media. I Perraults architecture essay also start historically. He experiments, he tests himself on the strictly unsystematic subjects of education, relationships, smells, idleness, cannibalism, clothes, etc.
His note to the reader, signed March 1,ends with a characteristic equivocation: Essays have a way of sparking critical disciplines around themselves.
They explore a ground that is to some extent unmapped, and in so doing, they sometimes Perraults architecture essay new fields of thought.
Likelier than not, the architectural canon bracketed by these commonplace dates begins not with a building but with an essay. Such a piece had to be written not from a position of experience and authority, exactly—and these were two things this Jesuit priest had little of where buildings were concerned—but rather as a heartfelt missive from an author who wanted to expand the question of architectural opinion beyond the confines of what was generally agreed to be the knowledge of the preceding centuries.
But his replacement of the treatise with the argumentative essay also marks an important turn in the discursive construction of the field that we call architecture.
If buildings are indeed the stuff of architectural history, essays illuminate our changing understanding of those buildings. The history of architectural ideas is a history of essays as much as a history of artifacts. But all essays are necessarily partial, and this one will turn instead to a moment when the political potential of the essay form gained a newfound importance, as industrialization and social change were effecting radical transformations on the modern metropolis.
One might even argue the inverse, that the genre of the essay—in its structural aspects and its intellectual lineage—in some sense demanded the rise of critical theory, being a form of thought uniquely suited to a certain form of writing.
Instead of achieving something scientifically, or creating something artistically, the effort of the essay reflects a childlike freedom that catches fire, without scruple, on what others have already done.
To write is, in its modest but ever necessary way, to participate. Every age brings its own conventional distinctions, and the essay form remains an important tool for illuminating and even sometimes undoing them.
We are at a moment in architecture when the specialization of intellectual labor has created its own conventions—in particular a dissociation between architectural production and architectural critique.
This is a rift that has gone by many names, and has produced an outsized atmosphere of anxiety, but has also found palpable shape in a discipline that increasingly sees its critical apparatus, if you will, existing to the side of architectural pedagogy and practice.
Depending on your vantage point, you might link this to any number of causes, each of which is too simplistic on its own. This institutional transformation has another side effect, by which architects, knowing that these writerly cadres are receiving this training, slip into a comfortable sense that someone else is out there to do the critical work.
For practitioners, especially those of an academic stripe, the idea of research in the form of iterative experiment and serial information gathering has seen a remarkable expansion in the past decade, often quite productively—but this focus has also displaced critique and informed dialogue in favor of apparently nonjudgmental research practices.
And for all of the common language that passes across the divisions that define different forms of professional participation in the world of architecture, there remain few common platforms for discussion.
But look again—there is fantastic critical work happening across the discipline, with an always expanding horizon of what constitutes the field of architecture. Schools are producing increasingly skilled cohorts of thinkers and writers.
If our most ubiquitous sites of architectural media sometimes add critical features and editorials, that work, even when excellent, has the effect of a compensatory pocket of thoughtful discussion that legitimates the larger promotional enterprise.
There are, of course, invaluable individual voices across the blogosphere. Whether something emerges from this experimental space for essayistic reviewing remains to be seen.
Penguin Books, Anna Bostok, Soul and Form Cambridge: Wolfgang and Anni Herrmann Los Angeles: Hennessey and Ingalls,1.Moving from Perrault's early international projects, Capitanucci reviews his creative production, focusing her essay on the recent works by dividing it into thematic sections: Architecture and Contemporary Public Space-Five Projects, Boxes, Late Nineties-Competitions .
Perrault does indeed remove the normative aesthetic basis of the theory of proportion, but at the same time he sanctions contemporary practice by laying down limits of convenance.
We will write a custom essay sample on Perraults Architecture . Charles Perrault's Puss in Boots - Charles Perrault's Puss in Boots Charles Perrault's version "Puss in Boots" is a simple enough tale, in which the cleverness of the small prevails over the merits of size and strength and the lowly thirdborn son of a miller transcends .
The phenomenon of using iconic architecture to promote a city, an institution, or a real-estate development was a product of the economic boom that began in the late s and ended with the.
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Essay: The Icon, Pro and Con. David Cohn.
Jean Nouvel, Agbar Tower Dominique Perrault Architecture, Olympic Tennis Center. OMA, Casa da Música. Eduardo Souto de Moura, Braga Stadium. Alberto Campo Baeza, Caja Granada Savings Bank.
Mansilla + Tuñón Arquitectos, MUSAC. Francisco Mangado, Spanish Pavilion for Expo Zaragoza