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TOP : Vol.02 : No.1 September 2006 : 
    このカテゴリには 2 件のファイルがあります  |   1ページの表示数 
No.1 September 2006
Gio Ponti: Early Activities of Design in His Career:Toward 'Rationalism' and the Idea 'Good Taste'

Naoko Hira

2006-10-12
日本語版は後日掲載予定です。
[keywords] Gio Ponti / Rationalism / 1920’s and 30’s / Le Corbusier / Josef Hoffmann
[abstract]
In the 1920’s and 30’s Gio Ponti thought out designs of apartment houses for the middle classes in the city and tried to create economical and ‘standard’ furniture. He had the critical mind common to other great architects in the 1920’s and until today he has been said to have got close to ‘rationalism’ stylistically in the mid 1930’s. But it seems that he did not totally sympathize with this ‘rationalistic’ style. He didn’t go to ‘prototype’ all composed by abstract forms and ‘rationalism’ according to structure like Le Corbusier and the ‘rationalistic’ group in Italy. At the same time he praised ‘pre-rationalistic’ Josef Hoffmann and Wiener Werksta¨tte using the words ‘good taste’ in highest praise of them. It can be said that Ponti was more or less influenced by them. Therefore in those days he valued decorative patterns and variety in materials and lead himself to an original interpretation of form of facade.

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No.1 September 2006
National and Universal Aspects in the Aesthetic Judgment of Architecture:Few historical examples

Vladimir M

2006-10-12
日本語版は後日掲載予定です。
[keywords] Aesthetic, Architecture, National, Universal, Judgment
[abstract]
The nineteenth century aesthetics introduced particular ideas concerned with aspects of creativity and aesthetic judgment in architecture related to a feeling of national belonging, mainly unknown in previous periods of European culture. However, this well known fact wouldn’t be from a particular interest that demand for introducing national feelings into aesthetics was not linked to a search for a new expression in architecture for particular reasons. Following the explanation given by aestheticians, need for introducing national feelings into architectural expression is closely linked to formation of new styles able to reactivate essential values of creativity and aesthetic judgment. In that context, ‘national’ in architectural expression was not solely a political tool, but also a reaction to the eclectic state of architecture. It was, in its essence, an advice to use national as universal aspect of reaching a new, better condition of European architecture.

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