Oppgrader til nyeste versjon av Internet eksplorer for best mulig visning av siden. Klikk her for for å skjule denne meldingen
Ikke pålogget
{{session.user.firstName}} {{session.user.lastName}}
Du har tilgang til Idunn gjennom , & {{sessionPartyGroup.name}}
Leder
(side 192-193)
av Espen Johnsen
Artikler
Vitenskapelig publikasjon
(side 194-205)
av Tim Benton
Engelsk sammendrag

This article presents and discusses Le Corbusier’s various ways of putting art into architecture, especially in relation to the Villa La Roche. The role of the hanging of La Roche’s collection of paintings in the design of the interior is described as a ‘promenade artistique’. The text argues that the La Roche villa owes most of its innovations to a process of design which is closer to painting than to architecture.

Vitenskapelig publikasjon
(side 206-214)
av Louise Campbell
Engelsk sammendrag

This article situates Parisian studio-houses in the context of the boom in contemporary art of the 1920s. It argues that in a highly competitive art market, architecture proved a useful means of individuating artists from one another. As boom turned to crash in the 1930s, the architecture of Perret served to shield his artist-clients from criticism and as an emblem of their integrity in an art market which stood accused of price-fixing.

Vitenskapelig publikasjon
(side 216-221)
av Jan Frohburg
Engelsk sammendrag

Is Mies van der Rohe’s architecture hostile to art? Set within the context of a lifelong engagement with artworks and their collectors, a closer consideration of the Lange and Tugendhat houses reveals a moment of transition. The anticipatory incompleteness of the Lange House yields to the Tugendhat House’s integrated approach in which the house itself becomes a work of art. Not at all hostile to art, Mies’ architecture is seen as accommodating, assimilating and elevating art.

Vitenskapelig publikasjon
(side 221-229)
av Trude Talette Simonsen
Engelsk sammendrag

This article discusses the photographic mediation of Le Corbusier’s atelier by focusing on photographs of it by Alabin Salaün and Lucien Hervé, published in L’Architecture d’Aujhourd’hui in 1934 and in Domus in 1952, respectively. A central proposition of the article is that the photographs by Hervé evoke a tactile imagination that point to Laura U. Mark’s formulation of haptic visuality. However, the author holds that Hervé’s photographs reflect a set of representation strategies, and discusses them in light of three various contexts: the photographer’s approach to photography, the ‘artist’s studio’ as an established theme within documentary photography, and the artist-architect’s mediation practices in the period.

Vitenskapelig publikasjon
(side 230-238)
av Pauline Gjøsteen
Engelsk sammendrag

Jakob Weidemann’s house in Oslo, built by Christian Norberg-Schulz and Jan Inge Hovig in 1959–1960, is the starting point for a description of Norberg-Schulz’s project methods at the time when he was writing Intentions in Architecture. Through the analysis of the house’s spatiality, this article seeks to show the implementing of ideas on the relationship between project and site. The main idea is that the aesthetic experience of the house functions as a filter for the surrounding landscape.

Vitenskapelig publikasjon
(side 240-247)
av Espen Johnsen
Engelsk sammendrag

This paper discusses the relationship between power and knowledge, and architect Arne Korsmo and his client, the investor and art collector Rolf Stenersen, while working with the experimental Villa Stenersen (1936–38). In his previous work, Korsmo expresses an ambivalence towards integrating paintings in residential interiors. Based on newly discovered drawing material of the house, the text discusses how the architect during the process related to the relationship between architecture and the visual arts with different spatial strategies. Although the process ended up with Stenersen as «curator» in several of the most important rooms, is it possible to argue that Korsmo added aesthetic devices that draw the visitor’s gaze away from the visual arts towards the experimental architecture.

Vitenskapelig publikasjon
(side 247-250)
av Károly Tóth
Engelsk sammendrag

This paper describes the highly esteemed collaboration and cooperation between young artists in the early years of Bauhaus in Weimar. It concentrates on the plans of houses with internal studios and on the case of two friends, Fred Forbat (1897–1972) and Farkas Molnár (1897–1945), who were seeking groundbreaking new forms in architecture to express their own identities, and at the same time to shape the Bauhaus as a new institute in its formation.

(side 257-260)
av Anne-Kristine Kronborg
(side 262-264)
Idunn bruker informasjonskapsler (cookies). Ved å fortsette å bruke nettsiden godtar du dette. Klikk her for mer informasjon