No. 6, Fall 1998 Representations/Misrepresentations and Revaluations of Classic Books

Representations/Misrepresentations and Revaluations of Classic Books

No. 6

Fall 1998

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Sometimes there is a relatively insignificant gap between what we see in photographs and what we experience with their subjects. Sometimes too, the designed place is much more impressive and interesting than in any photograph. Photography is impotent or feeble in picturing huge objects, wrap-around spaces, sequential spaces, human use, fine detailing, and, of course, anything dependent on senses other than sight. Even Ansel Adams does not sufficiently convey the sublime enormity of Half Dome at Yosemite. The impact of the Vietnam Veterans Memorial in Washington depends on being able to read specific inscribed names while seeing peripherally walls of granite etched with more than 50,000 names. The effect of Richard Haag’s Moss Garden at Bloedel Reserve depends on the unphotographable experience of feeling enveloped by a superabundance of plants. You cannot, in a photograph of Brunelleschi’s Pazzi Chapel, represent visitors’ awareness of what is behind them, and its proximity and its symmetry with what is before them. The refined craftsmanship of wood details at Greene and Greene’s Gamble House, and the pleasure of touching that wood, cannot be conveyed by a few close-up photos.

Photographs usually lead, then, to over- or under-estimation of designed places: I was thrilled to find Ralph Erskine’s London Ark not boring or awkward, as its photographs suggested, but instead the most humane office building I have seen–or in this case heard and smelled, for its large, irregular, wood-detailed central atrium is amazingly quiet and filled with noticeably fresh, often renewed air. But Richard Rogers’s Lloyds of London building–which appears aggressively (but impressively) tough in photographs of the skyline–seemed, up close (a view less often presented in publications), a monstrous machine, cold and distancing, making its workers seem tiny robotic functionaries.

— William S. Saunders (excerpted from the introduction)

Table of Contents

Essays

Object, Image, Aura

Daniel Naegele

Reflections on a Polished Floor

Iain Boyd Whyte

Fading Photographs

James S. Russell

Genre Studies

Luis Fernández-Galiano

Operational Eidetics

James Corner

Over-Exposure

Thomas L. Schumacher

Picture This.

Sandy Isenstadt

Picture This. Build That.

William J. Mitchell

Showing What Otherwise Hides Itself

David Leatherbarrow

The Inconvenient Friend

Edward Ford

To Collage or E-Collage?

Barbara Maria Stafford

Reviews

Landscape for Living by Garrett Eckbo

Robert Riley

The Poetics of Space by Gaston Bachelard

Joan Ockman

Selected books by J. B. Jackson

Mitchell Schwarzer

Architectural Principles in the Age of Humanism by Rudolf Wittkower

James S. Ackerman

Architecture without Architects by Bernard Rudofsky

Felicity Scott

Complexity and Contradiction in Architecture by Robert Venturi

Robert Harbison

Learning from Las Vegas by Robert Venturi, Denise Scott Brown, and Steve Izenour

Robert Harbison

Space, Time and Architecture by Sigfried Gideon

Joseph Rykwert

The Death and Life of Great American Cities by Jane Jacobs

Elizabeth Wilson

The Machine in the Garden by Leo Marx

Edward Eigen

Theory and Design in the First Machine Age by Reyner Banham

Thomas L. Schumacher

Towards a New Architecture by Le Corbusier

Jonathan Hale
Harvard Design Magazine Issue No. 1
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