Download Architecture in Words: Theatre, Language and the Sensuous by Louise Pelletier PDF

By Louise Pelletier

What if the home you're approximately to go into was once equipped with the confessed objective of seducing you, of making a number of sensations destined to the touch your soul and make you examine who you're? may structure have such strength? This used to be the idea of generations of architects firstly of modernity.

Exploring the position of theatre and fiction in defining personality in structure, Louise Pelletier examines how structure built to precise political and social motive. utilizing this to the trendy day, Pelletier considers how architects can examine from those eighteenth century attitudes so as to fix architecture's communicative dimension.

Through an in-depth and interdisciplinary research of the start of modernity, Louise Pelletier encourages today's architects to think about the political and linguistic implications in their instruments. Combining concept, ancient experiences and examine, Architecture in phrases will galvanize proposal and improve the paintings of any architect.

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Extra resources for Architecture in Words: Theatre, Language and the Sensuous Space of Architecture

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This new interest in the expressive power of architecture would lead to a theory of character. One of the earliest formulations of this new character theory can be found in the writings of Jacques-François Blondel, author of the Cours d’architecture (1771–9) and numerous architectural treatises, and professor at the Académie Royale d’Architecture from 1756 to 1774 (not to be confused with François Blondel mentioned earlier). It is in one of his early writings, De la distribution des maisons de plaisance (1737–8), an architectural treatise entirely devoted to country houses, that Blondel first declared that the exterior expression of a building should announce its destination.

A single scene with neither actor nor narration could “make us feel the burning heat of the Sun” or could convey to our souls “the idea of a biting cold” through a simple representation of lonely, bare trees rising from snowy rocks: A somber air, and a pale and featureless sky, would have betokened the onset of new frosts. Rivers frozen to a standstill, springs caught and arrested in their flight, would have shown us nature devoid of life and movement. 11 The specific character of each stage set, and its ability to inspire distinct emotions in the spectator, is precisely what Le Camus considered most relevant to his own character theory.

In fact, the whole treatise is devoted entirely to private architecture, demonstrating how the character of a specific client can be translated into the programmatic requirements for the hôtel particulier, the great town house of the Ancien Régime. Echoing the writings of Boffrand and Blondel, Le Camus writes: The Building erected for a great Nobleman, the Palace of a Bishop, the Town House of a Magistrate, and the House of a Military Man, or of a rich private Citizen, require to be treated differently.

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