Moving and being moved: The aesthetic experience in architecture.
Parentheses| N° d'inventaire | 31188 |
| Format | 15 x 23 |
| Détails | 251 p., numerous black and white photographs, paperback. |
| Publication | Paris, 2024 |
| Etat | Nine |
| ISBN | 9782863646915 |
Considered by aesthetic philosophy as an imperfect work because subject to need and necessity, ordinary architecture is here the object of a completely different gaze. Dwelling, place of work, of worship or simple passage, it is shown on the contrary as the place of an eminently aesthetic experience in that it gives access to the deepest part of our being-in-the-world. Leaving to others the immobile veneration of monumental architecture, the author walks without mask in the infinite complexity of emotions and sensations aroused by these everyday spaces.
What is awakened in us, she says, as we move about in them, is the feeling of being in our place, of being alive, of beating in unison with the world. This dynamic version of architectural aesthetics, which draws on the concepts of rhythm, ambiance, and atmosphere, asserts itself as resolutely contemporary and, as such, as a source of inspiration that is both new and indispensable. For this counterpoint, taken from the theories of Kant, Hegel, and Benjamin, is also taken from a certain architecture whose excesses of façade deprive our so-called living spaces of all life.
Considered by aesthetic philosophy as an imperfect work because subject to need and necessity, ordinary architecture is here the object of a completely different gaze. Dwelling, place of work, of worship or simple passage, it is shown on the contrary as the place of an eminently aesthetic experience in that it gives access to the deepest part of our being-in-the-world. Leaving to others the immobile veneration of monumental architecture, the author walks without mask in the infinite complexity of emotions and sensations aroused by these everyday spaces.
What is awakened in us, she says, as we move about in them, is the feeling of being in our place, of being alive, of beating in unison with the world. This dynamic version of architectural aesthetics, which draws on the concepts of rhythm, ambiance, and atmosphere, asserts itself as resolutely contemporary and, as such, as a source of inspiration that is both new and indispensable. For this counterpoint, taken from the theories of Kant, Hegel, and Benjamin, is also taken from a certain architecture whose excesses of façade deprive our so-called living spaces of all life.