Abstract
This essay explores an understanding of architectural space that neither rejects out of hand nor is fully premised in prevailing assumptions about it as constitutionally independent of time, movement, experience, and the world. In so doing, various sources are examined that provide some insight on possible ways of expanding our notions of space and its involvement with vision, tactility, the body, and the body's capacities for action. Of special interest in this regard is Walter Benjamin's proposition of a “distractive art.” Under this rubric, connections between film and architecture, their inherent characteristics, and their means of appropriation are pursued. As a corollary, a few important qualitative characteristics of experience at Le Corbusier's Carpenter Center are discussed.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
