Andrew Zago introduces Mary Alice Dixon-Hinson. She cites the Acropolis and Marc-Antoine Laugier’s Primitive Hut as part of an analysis of rationalist representation in Western cultural history. She reviews the use of perspective in the Renaissance to create illusory space. She examines Piranesi’s etchings, noting the absence of people,and characterizing this as a metaphor for the reality of 18th and 19th century city planning.
Video Archive | Rationalism (3)
Gunnar Birkerts begins his lecture by describing his personal history in both art and architecture, attributing his sensibility to “the modern masters.” Birkerts combines the personal, the theoretical and the scientific to outline his major criteria. He argues that architecture can be purely objective, and that its main purpose is to promote a direction or position.
Charles Jencks describes developments in Italian architecture by citing several examples of items and projects that developed through the 1960s and 1970s. He uses Carlo Maciachini’s Milan Cemetery to show how a collection of styles in one place can form a type of architectural utopia. Jencks frames the enduring metaphors and signifiers of 1930s Fascism as the context for subsequent explorations of irony and obscenity, especially in projects by Superstudio, and rationalists like Aldo Rossi.