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INTRODUCTION: ARCHITECTURE AND BEAUTY: A SYMBIOTIC RELATIONSHIP

机译:简介:建筑与美容:共生关系

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Why does beauty matter? Throughout most of the 20th century, in the visual arts and the humanities - including architecture, politics, psychology, poetry and music- beauty became a denigrated phenomenon, a taboo word. Yet the emotional experience of it has remained real, with people referring to it on a daily basis. This issue of identifies its resurgence. The most influential thinker on contemporary ideas of art and aesthetics, Immanuel Kant, writing in 1790, described aesthetic judgement as 'disinterestedly free' and beauty as 'purposefulness without purpose'.2 Four decades earlier, another German philosopher, Alexander Gottlieb Baumgarten, in his work Aesthetics (1750), had defined the modern use of aesthetics and subjectivity as associated terms, in that rejection of one reduces the other. Architecture's aspiration to beauty was pre-eminent for thousands of years, triumphantly leading the visual arts until the 1920s when Early Modernism generated a significant new aesthetic. Architects' troubled relationship with beauty3 began in the 1940s, when objectivity ruled - as captured by Mies van der Rohe's statement on 'objective limits' and 'no subjective licence'.4 Since then, architectural discourse has evolved, with short periods of questioning the dubious approach towards subjectivity, and longer periods of trusting objectivity. In time the status of beauty was eroded as it came to be associated with old-world, non-progressive values. The only two disciplines that continued to acknowledge beauty's power in this period were mathematics and neuroscience, which have consequently contributed the most in recent times to our understanding of its relevance to human life and knowledge. Meanwhile, it seems that 100 years of neglect have reduced architects' ability to explore the real depth of beauty. When asked to describe beauty in architecture, most refer to the Renaissance ideal of perfection, and some to an elegant line or a neat detail, without reference to beauty's much deeper and enigmatic qualities.
机译:为什么美容?在20世纪的大部分内,在视觉艺术和人文学科 - 包括建筑,政治,心理学,诗歌和音乐 - 美容成为诋毁现象,禁忌字。然而,它的情感经验仍然是真实的,人们每天都在指代。这个问题确定了其复兴。最具影响力的思想家艺术和美学的当代想法,1790年写作,写作审美判断作为“无私”和美丽作为“无意的目的”.2十年早些时候,另一个德国哲学家,亚历山大·戈特利布·鲍姆,在他的作品美学(1750年),已经定义了美学和主体性的现代利用,因为拒绝一个人减少了另一个。建筑对美的渴望是千年来卓越的,胜利领导视觉艺术,直到20世纪20年代的早期现代主义产生了重要的新审美。建筑师与Beauty3的困扰关系始于20世纪40年代,当客观性裁定 - 正如Mies Van der Rohe的声明“客观限额”声明所捕获的那样,从那时起,建筑话语已经发展,短暂的问题可疑的主观性,越来越多的信任客观性。随着与旧世界,非逐步价值观相关的,美丽的地位被侵蚀。在这一时期继续承认美容力量的唯一两条学科是数学和神经科学,因此近一次促进了我们对与人类生活和知识相关的最大贡献。与此同时,似乎100年忽视减少了建筑师探索真正美景的能力。当被要求描述建筑的美丽时,大多数人都要参考文艺复兴的完美理想,以及一些优雅的线条或整洁的细节,不参考美女更深入和神秘的品质。

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