Video Archive | Perspective (17)

Alexis Rochas Making And Meaning-clip_4834
Alexis Rochas presents images of paintings by Giotto, characterizing them as an exploration of relationships in space. Rochas...
Alexis Rochas Making And Meaning-clip_4836
Rochas concludes with a discussion of the representation of figure, architecture, and space in paintings by Tintoretto, Rubens...
Alexis Rochas Making And Meaning
Alexis Rochas lectures on the body in space in European painting from the 13th to the 17th century to an audience of Making +...
Michael Maltzan-clip_1316
Maltzan begins his lecture by presenting three residential projects in process and describes his approach to residential work as...
David Hockney Day On The Grand Canal With The Emperor Of...
One of the student organizers of the series titled The Architectural Imagination welcomes the audience. Michael Rotondi...
David Hockney Day On The Grand Canal With The Emperor Of...
David Hockney describes a documentary he did recently with Philip Haas, Day on the Grand Canal with the Emperor of...
Alberto P?rez-G?mez The Change Of Architecture In...
Robert Mangurian introduces Alberto P?rez-G?mez, who reviews the development and evolution of perspective up to the creation of...
Steven Holl Phenomenon Of Relations-clip_4473
Holl concludeswith a question and answer session. He discusses his move from perspectival view to planametric organization. He...

Alexis Rochas Making And Meaning-clip_4834

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Alexis Rochas presents images of paintings by Giotto, characterizing them as an exploration of relationships in space. Rochas points out how architectural elements represented in the paintings do not describe possible buildings, but organize and compartmentalize narrative and compositional elements. He presents additional examples in which Giotto uses objects to define space and to define relationships between figures. Rochas discusses the role of flatness in Giotto’s work and the effect of stylized abstraction.


Alexis Rochas Making And Meaning-clip_4836

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Rochas concludes with a discussion of the representation of figure, architecture, and space in paintings by Tintoretto, Rubens and Caravaggio. He credits Tintoretto with creating a new emphasis on body and posture as crucial compositional elements, especially in works where collections of foreshortened figures, seemingly liberated from gravity, define expressive spatial forms. The great accomplishment of Rubens, according to Rochas, was animating part to whole relationships, particularly details of musculature as elements of complex compositions. Caravaggio, in contrast, collapses perspective and eliminates background to focus intensely on his figures, using light and mass as the primary elements of his work.


Alexis Rochas Making And Meaning

Alexis Rochas lectures on the body in space in European painting from the 13th to the 17th century to an audience of Making + Meaning participants. Rochas presents images of paintings by Giotto, characterizing them as an exploration of relationships in space. Rochas points out how architectural elements represented in the paintings do not describe possible buildings, but organize and compartmentalize narrative and compositional elements. He presents additional examples in which Giotto uses objects to define space and to define relationships between figures. Rochas discusses the role of flatness in Giotto’s work and the effect of stylized abstraction. Rochas discusses the representation of figure, architecture and landscape in the paintings of Piero della Francesca, Andrea Mantegna and Raphael. He discusses Piero della Francisca in terms of a shift from intuition to geometry, and the integration of architectural elements. He discusses how Andrea Mantegna used perspective to open up space and compositional techniques to collapse depth. Raphael integrated complex arrangements of fully rounded figures in carefully defined space. Rochas concludes with a discussion of the representation of figure, architecture, and space in paintings by Tintoretto, Rubens and Caravaggio. He credits Tintoretto with creating a new emphasis on body and posture as crucial compositional elements, especially in works where collections of foreshortened figures, seemingly liberated from gravity, define expressive spatial forms. The great accomplishment of Rubens, according to Rochas, was animating part to whole relationships, particularly details of musculature as elements of complex compositions. Caravaggio, in contrast, collapses perspective and eliminates background to focus intensely on his figures, using light and mass as the primary elements of his work.

Clips

Alexis Rochas Making And Meaning-clip_4834
Alexis Rochas Making And Meaning-clip_4834
Alexis Rochas Making And Meaning-clip_4835
Alexis Rochas Making And Meaning-clip_4835
Alexis Rochas Making And Meaning-clip_4836
Alexis Rochas Making And Meaning-clip_4836

Michael Maltzan-clip_1316

View the Full Video: Michael Maltzan
September 27, 2006 |

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Maltzan begins his lecture by presenting three residential projects in process and describes his approach to residential work as “microcosms or distillations of larger and more complex social organizations.” He explains the role of view and plays with traditional lot usage in a house on Broad Beach in Malibu. He investigates a geometric and social inversion of the modernist blur between interior and exterior in the Pittman Dowell Residence. Lastly, he explores geometric inversion as a sectional problem while employing skin effects that animate rectilinear geometry.


David Hockney Day On The Grand Canal With The Emperor Of China

September 14, 1988 | Video Lecturer:
Introduction by:

One of the student organizers of the series titled The Architectural Imagination welcomes the audience. Michael Rotondi points out the recently-completed renovation of the Main Space. Elyse Grinstein introduces David Hockney. David Hockney describes a documentary he did recently with Philip Haas, Day on the Grand Canal with the Emperor of China. At the event, the movie was shown, but it is not included in this video. The video resumes after the screening, with a 30-minute question and answer session.

Clips

David Hockney Day On The Grand Canal With The Emperor Of...
David Hockney Day On The Grand Canal With The Emperor Of China-clip_2298
Several speakers introduce the lecture. At first they describe how the Scia-arc lecture series are organized by the students and...
David Hockney Day On The Grand Canal With The Emperor Of...
David Hockney Day On The Grand Canal With The Emperor Of China-clip_2790
David Hockney Day On The Grand Canal With The Emperor Of...
David Hockney Day On The Grand Canal With The Emperor Of China-clip_2791
After the screening of Day on the Grand Canal with the Emperor of China (not included in this video) the video resumes...

David Hockney Day On The Grand Canal With The Emperor Of China-clip_2790

Subclip

David Hockney describes a documentary he did recently with Philip Haas, Day on the Grand Canal with the Emperor of China. It documents a 17th century scroll painting The Kangxi Emperor’s Southern Inspection Tour (1691-1698) painted in the 17th century by Wang Hui. Hockney is fascinated with the way it evokes distance, space and movement without Western-style perspective. At the event, the movie was shown, but it is not included in this video.


Alberto P?rez-G?mez The Change Of Architecture In Post-perspectivity

January 1, 1988 | Video Lecturer:
Introduction by:

Robert Mangurian introduces Alberto P?rez-G?mez, who reviews the development and evolution of perspective up to the creation of the descriptive geometry. He describes the influence it had on the industrial revolution and architecture.

Clips

Alberto P?rez-G?mez The Change Of Architecture In...
Alberto P?rez-G?mez The Change Of Architecture In Post-perspectivity-clip_1485
P?rez-G?mez discusses the importance of drawings in architecture, citing Bouleeā€™s visionary drawings. He reviews the role of...
Alberto P?rez-G?mez The Change Of Architecture In...
Alberto P?rez-G?mez The Change Of Architecture In Post-perspectivity-clip_1486