Surrealism and Architecture
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This is a historically informed examination of architecture's perceived absence in surrealist thought, surrealist tendencies in the theories and projects of modern architecture, and the place of surrealist thought in contemporary design.
This book represents current insights into surrealism in the thought and practice of modern architecture. In these essays, the role of the subconscious, the techniques of defamiliarization, aesthetic and social forces affecting the objects, interiors, cities and landscapes of the twentieth century are revealed. The book contains a diversity of voices from across modern art and architecture to bring into focus what is often overlooked in the histories of the modernist avant-garde. This collection examines the practices of writers, artists, architects, and urbanists with emphasis on a critique of the everyday world-view, offering alternative models of subjectivity, artistic effect, and the production of meanings in the built world.
p. 73. Signiﬁcantly, the couple seem to have used it as a semi-public showcase for Dalí’s work, with journalists invited for personal ‘private views’. 28 The domestic spaces of surrealism 26 M. Secrest, Salvador Dalí: The Surrealist Jester, London: Collins, 1988, p. 138; H. Pastoureau, Ma Vie surréaliste, Paris: Maurice Nadeau, 1992, pp. 150–51. Brassai’s portrait of the Dalís is reproduced in A. Sayag and A. Lionel-Marie (eds) Brassai: ‘No Ordinary Eyes’, London: Thames and Hudson, 2000, p.
California at Berkeley in 2001 and is now a faculty member in the School of Architecture at Princeton University. He has been a Getty postdoctoral fellow afﬁliated with the Warburg Institute and a visiting fellow at the Canadian Centre for Architecture. He is currently completing a book titled On the Animation of the Inorganic: Art, Architecture, History (A book of modern wonders). Stephen Phillips is a Ph.D. Candidate in the History and Theory Department at Princeton University School of
fingers, toes and finally the torso of her rapidly changing frame. If this is correct, then Daphne has at least two trees: one growing inside her psyche and a second tree growing out of her skin. In fact, from the moment she is born, the modern Daphne is institutionalized inside a forest – the cluster of arboreal diagrams of nineteenth-century psychopathological discourse. And yet the Freudian tree, especially in its Lacanian species, can ultimately be liberating. The tree becomes the apparatus
Corbusier’s reading of Bataille. But I would go further and claim that a reading of Bataille’s idea of dépense might shed further light on our interpretation of Le Corbusier’s later work. I would suggest that La Part Maudite strongly inﬂuenced Le Corbusier’s Plan of Chandigarh. Particularly I will argue that besides the Nietzschean connection in the main ouverte, which has aptly been brought up by Manfredo Tafuri, one should think of the Open Hand in the light of Bataille’s notion of
distribution. It is a potlatch of an “excessive” expenditure of space; its structure is a disarticulated and disjunctive (de)composition. In this plan Le Corbusier frees himself from the anthropomorphic body of Ville Radieuse and authoritarian control and achieves a body (dis)organization akin to André Masson’s Acéphale. In regarding the Chandigarh plan it would be instructive to read Bataille’s article “Architecture,” published in Documents in 1929. This was the ﬁrst article that Bataille