Professional Documents
Culture Documents
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a degree of risk.
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elaborated.
Baker.5
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lines traced in architectural drawings usually correTogether, these two aspects define rather well
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tion.
sive with a body that, from birth, has felt the cold
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Fig. 1: The Josephine Baker House, Paris, by Adolf Loos, 1928. Plans and sections.
Image courtesy Thames and Hudson. Source: Ludwig Munz and Gustav Kunstler, Adolf Loos: Pioneer of Modern Architecture (London: Thames and Hudson, 1966).
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survival.
impoverishes his clients life not seem entirely farfetched? Why should we be wary of progressively
modernity:
societies.19
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Fig. 2: The Origin of Painting, by Karl Friedrich Schinkel, 1830. Image courtesy of the Von de Heydt Museum in Wuppertal.
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pline.
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and thousands of years ago a primate inadvertently let himself be captured. I prefer to grasp over
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grasped by power because the drawings knowledge of lived experience is part of an apparatus that
can alter the world outside it. As a consequence,
ends.
conviction about the relationship between architecture, bodily capacities and drawing that underpins it
of motion [fig. 4]. The accompanying text distinguishes a variety of situations - moving, sitting,
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Fig. 4: The Bordeaux House, Floirac, France, by Rem Koolhaas and OMA, 1995-98. Plans of upper floor. Image courtesy OMA. Source: El Croquis 79, 1996, p. 174.
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useful.
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original seeing.
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ment.
us to observe.
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30
The
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43
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Fig. 5: The Ancient Days, by William Blake. Frontispiece to Europe: A Prophecy, 1794. Copyright British Library Board.
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an inaccessible other.52
fence.
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Lost-Body Drawing
ruins of the life that it can never quite seize but that
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incorporation of the architects longing for others from the past and in the future - might disturb its
grasp of the body, and perhaps prefigure an archi-
Acknowledgements
In the end, the drawing circulates freely. Mitchell observes that images both express desires
that we already have, and teach us how to desire
Notes
oneself up to it.
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7. Ibid.
wide.
pp. 163-66.
10. Ibid., p. 164.
11. We also note that Schinkels rendition of the myth
reverses the gender roles by casting a man as the
1988), p. xxvi.
18.
Michel de Certeau, The Practice of Everyday Life,
trans. by Stephen Rendall (Berkeley and Los Angeles,
CA: University of California Press, 1984), p. 92.
out that the arm is too long, in the latter that the window
Press, 1984).
is teaching painting.
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357-70.
43.
Georges Vigarello, Le Laboratoire des sciences
translation.
39. Ibid., p. 4.
40. Ibid.
48. Ibid.
50. Ibid.
53. Ibid.
it must take on the production of bodies of ecclesiastical doctrine and sacrament that substitute for the
Biography
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