内容简介


Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality.Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience--perhaps even the subject itself--of architecture.

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豆瓣评论

  • 曳尾.avi
    就看了关于本雅明的几篇,以前一直觉得Vidler写东西特别清楚明白,写类型学的就是。然而这次看得反倒有点迷糊,看来还是缺乏背景资料。缺乏背景资料就会觉得写得模糊……我猜其实人家写得并不模糊……所以或许我看不太懂城市建筑学也是因为背景了解得太少咯?TT04-11
  • Visin
    psychological culture of modernism & media → warped space05-05
  • Spring
    只读了感兴趣的章节。感觉Vidler教授对电影的理解停留在二战前,并且以片面的电影理论解读替代观影体验。所以,他通过联系二战前片面的电影理论而论述的“建筑/城市蒙太奇”之说,显得特别有局限性。07-11
  • M
    之前课上他闲扯的东西一知半解, 没想到在push自己pick a position on Gehry时突然通了一些, 没想到自己写Gehry会再回到the uncanny. i can see myself come back to him again 05-24
  • 麒麟
    11111111111111111111111111111111111105-29

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