Joseph Vernet, Vue de Naples avec le Vésuve, vers 1748, huile sur toile, 99 x 197 cm, Paris, musée du Louvre.
Type : Appel à communication
Date limite des appels : respectivement 30 mai 2017, 22 mai 2017, 20 mai 2017.
Date des événements : 22 – 24 mars 2018
Lieu : Nouvelle-Orléans
 Imagining the Heretic: Visual Narratives  New Approaches to the Art of Spanish Naples  Revolution française? Celebrating the anniversaries of Damisch’s The Origin of Perspective and Marin’s To Destroy Painting Continuer la lecture →
DAMISCH Hubert, Noah’s Ark : Essays on Architecture, Cambridge, The MIT Press, 2016, 392 p.
Présentation de l’éditeur :
Trained as an art historian but viewing architecture from the perspective of a “displaced philosopher,” Hubert Damisch in these essays offers a meticulous parsing of language and structure to “think architecture in a different key,” as Anthony Vidler puts it in his introduction. Drawn to architecture because it provides “an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-François Blondel to Eugène Viollet-le-Duc to Mies van der Rohe to Diller + Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius’s De Architectura, and the Louvre. In the title essay, Damisch moves easily from Diderot’s Encylopédie to Noah’s Ark (discussing the provisioning, access, floor plan) to the Pan American Building to Le Corbusier to Ground Zero. Noah’s Ark marks the origin of construction, and thus of architecture itself. Diderot’s Encylopédie entry on architecture followed his entry on Noah’s Ark; architecture could only find its way after the Flood.
In these thirteen essays, written over a span of forty years, Damisch takes on other histories and theories of architecture to trace a unique trajectory of architectural structure and thought. The essays are, as Vidler says, “a set of exercises” in thinking about architecture.