Le Corbusier, Koolhaas and the Surrealist Legacy Bien Casllo z3459578 BEIL6005 Art, Architecture + Design Semester 1, 2016
CONTENTS
Abstract
1
1
Introducon
2
2
Le Corbusian’s Subconscious Tendencies
3
3
Koolhaas and the Paranoi Paranoiac-Crical ac-Crical Method
9
4
A Superior Reality: The New Paradigm
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5
Conclusion
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Endnotes
18
Bibliography
21
Image Sources
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ABSTRACT
To examine the relaonship between Surrealism and architecture, the Surrealist perspecve must must be considered.
What is the subconscious desire desire of the
subject? How is this funcon of the mind materialised? What landscape landscape formalises this experienal experienal arena? Perhaps, the essence of an architectural Surrealism is the arculaon of space. Perhaps, in the ideology of Dali, this can only be characterised through a paranoid state. state. Aer all, for Breton, a Surrealist Surrealist physically expresses the funcon of thought in response to a convenonal reality, with the absence of exerted exerted control and reason. reason. It is the belief in a superior reality, with the omnipotence of the dream-state. This leads to the deconstrucon of mechanisms, which is then substuted as the soluon of the principal problems of life. In relaon to architectural architectural thought, is this not the underlying principle of tweneth century Modernism?
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Le Corbusier, Koolhaas and the Surrealist Legacy
1.
INTRODUCTION
Through Salvador Dali’s paranoiac-crical method, this paper is an exploraon of the underlying Surrealist principles of tweneth tweneth century architecture. It presents a unique Surrealist examinaon of the century’s more prominent gures that seldom acknowledged acknowledged a subconscious subconscious desire. Le Corbusier is one such gure. Perhaps, it was an accident, a coincidence through which he conceived his unconvenonal “house as a machine for living”. Then there is the recurring theme of discovery. discovery. Just as the Dadaists and Surrealists Surrealists were fascinated with objet trouvé (found objects), Le Corbusier was fascinated with an experienal discovery,, both in Beistegui’ discovery Beistegui’ss penthouse on Champs d’Elysees and the decaying Villa Savoye. Bernard Tschumi Tschumi embraces the laer for its surreal values. For the Beistegui apartment, one might also summon a Magrie-esque juxtaposion.
Perhaps, it is best to appropriate this under Rem Koolhaas’ 1978 commentary
on “Manhaanism”. “Manhaanism”. Here, he presents presents a dichotomous narrave of Salvador Dali and Le Corbusier’s polemic adventure to New York, which is personied through their contrasng response to the sudden confrontaon of the Surrealist irraonalies and raonal intenons of Modernism. Both subjects characterise the “paranoia” that Dali oen referred to in his painngs; the same paranoia that informed the early works of Koolhaas, as well as the direcon of postmodernism in the 1980s and 1990s, and culture of 21st century architecture.
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2.
LE CORBUSIER CORBUSIER’S ’S SUBCONSCIO SUBCONSCIOUS US TENDENCIES
Thus, as premature as it sounds, space becomes the elemental device to idenfy a Surrealist presence in tweneth century century architectural pracce. It is the most ambiguous of all elements that can only be contained by a raonal archetypal form. Aer all, for architects, space can only be dened by the architecture that contains it, as well as the architecture that is contain ed within it 1. For Surrealists,
space was more of a tangible reality, whereby the focus was to destabilise it, rather than simply contain it; to challenge to the architectural paradigm2. Thus, to simply retreat to describe the inuence of Surrealism on architecture becomes intangible, as its presence is oen challenged, and even restricted by Andre Breton’s Breton’s response to Le Corbusier’s Corbusier’s Modernist principles. In agreement with this, Le Corbusier has seldom acknowledged a Surrealist presence in his
work. Despite this, whilst it might be a coincidence, Le Corbusier has ironically demonstrated neutrality towards Surrealism, and even a consciousness for the subconscious. He describes this relaonship as “inmate “inmate knowledge”, knowledge”, which implies an unconscious obsession obsession with a more transcendent transcendent reality. reality. In “The Ghost in the Machine”, Alexander Gorlin describes it as an unintenonal direct reference to the “decadence of Surrealism.”3
Whilst his early projects demonstrate a strong depicon of white architecture, there is a irtaous dialogue between raonal and “an-raonal” “an-raonal” imagery. For instance, as controversial as it sounds, his Vil la Savoye unintenonally quesons the perfecon and meless permanence of pure Modernist principles 4. Prior to its late tweneth century restoraon, the villa was abandoned during the postwar period and subject to decades of degradaon and decay – a demonstraon of temporality as a consequence of me. Through Rene Burri’s Burri’s photographs, in conjuncon with its Modernist intenons, this srs images of transgression; the same transgression that surrealists Salvador Dali and Georges Bataille oen Tschumi, as a follower of the laer, laer, denes this in his alluded to5. Bernard Tschumi, 1976 manifesto as a “perverse act that never lasts”6, another emphasis on the architectural discourse of me.
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Le Corbusier, Koolhaas and the Surrealist Legacy
1
Fig. 1. Villa Savoye, Le Corbusier, 1931, exterior of decaying villa. Fig. 2. Villa Savoye, Le Corbusier, 1931, mould growing on glass and interior
surfaces.
2
Thus, just as Andre Brteton emphasised transgression as a requirement to
explore Surrealist dimensions of erocism 7, Tschumi holds it as architecture’s highest rule – “If you want to follow architecture’s rst rule, break it.” 8 From this, Le Corbusier’s Villa Savoye has transcended the expectaons and limits of a Modernist’s reality, into a state of eroc sensuality9. This is depicted in adversement no. 4, whereby even the epitomes of Modernity are overcome by a sensual experience of space 10. For Bataille, even the very process of decay, decay, and the nality of death, is eroc. Here, Tschumi Tschumi aligns Bataille’s Bataille’s imagery of decomposion with the decay of Villa Savoye, from a symbol of purity to rong mould. This is the “excess” “excess” Ts Tschumi chumi referred to. Where Le Corbusier’s mental construct was rich with geometry in its purist form, me imposed a regression that transformed the space so the experience becomes completely sensory – the smell of excrement of the ground oor, and damp mould-covered windows 11. As with Bataille, this is Tschumi’s Tschumi’s sensual erocism “that is not derived from the excess of pleasure, but from the pleasure of excess.” excess.”12
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Fig. 3. Bernard Tschumi, Architectural Adversement no. 3. Fig. 4. Bernard Tschumi, Architectural Adversement no. 4.
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It is also dicult to avoid Le Corbusier’s reference to Duchamp’s Duchamp’s labyrinth. It is a term that nds commonalies in Dadaist and Surrealist pracce, whereby the sensualies of meandering and aimless driing conveys a sense of confusion in an ordered plan13. For Bataille, this is one of the two main gures of architecture
(the other being the pyramid). pyramid). Le Corbusier found this through plan libre (one of Five Points of New Architecture), through which he could create an inmate ow of space and interlocking routes, with interpenetraons of mezzanines, courtyards and voluminous spaces14. In the La Roche House this is delineated along a central promenade. promenade. For Le Corbusier, Corbusier, this promenade architecturale guides the visitor through a dream-like succession of spaces, only interrupted by traversing “enjambements” “enjambements” of ramps, stairs and open voids15.
To art historian
Tim Benton, it is an emoonally sensual journey, journey, with reference to the Sublime, as he “imagines La Roche walking alone at night to reach his bedroom.”16
Addionally, in Elements of a Synthesis, Le Corbusier does insist on one parallel between his architecture and the art of Surrealism. This is through Giorgio de Chirico’s “piura metasica”, through which Corbusier employs the Surrealist precedent of tangible objects or objet trouve to convey a sense of mystery 17. This, in turn, contributes to his obsession with the recurring theme of experienal discovery – “The points of reference for all relaons that have the power to move us are objects.”18 Of course, as a raonalist raonalist these are only “objects “objects that work, or funcon.”19 For Gorlin, the apogee apogee of Le Corbusier’s Surrealist tendencies is the Beistegui penthouse of 1930 20. Here, objet objet trouve becomes apparent through the assemblage of a classical living room seng on the roof garden – a clear experimental statement statement of the “outdoor room”. room”. This Surreal imagery appears to be exaggerated, a response to Charles de Beistegui’s adoraon for Surrealist art. Moreover Moreover,, akin to an experienced Surrealist, Le Corbusier treated space as a tangible element. element. The “room” is vercally vercally orientated to frame frame the sky, as a strategy to of seclusion from the “urban chaos of Paris.” 21 Here, one might also summon a Magrie-esque juxtaposion. The living room seng depicted in Hitchcock and Johnson’ Johnson’ss Internaonal Style uncannily resembles the composion of Rene Magrie’s “Birth of an Idol” (1926).
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Le Corbusier, Koolhaas and the Surrealist Legacy
5
Fig. 5. Le Corbusier, Beistegui apartment, Paris,
“outdoor room.”
His raging sea is equivalent to the aforemenoned chaos of Paris, with a single set of steps rising leading to an assumed transcendence 22. Likewise, one might might also draw parallels with Magrie’s Magrie’s “Time Transxed” Transxed”.. In an outdoor room, where the sky is the ceiling and grass is the carpet, Le Corbusier imposes a non-
funconal replace, much like the locomove penetrang Magrie’s hearth 23. Here, Le Corbusier celebrates uselessness, just as Bataille celebrated acons with no funconal explanaon. Again, Bataille found found this eroc. For Tschumi, Tschumi, it is a demonstraon of another suppressed axiom: “the necessity of architecture may well be its non-necessity.” 24 Thus, in accordance with Anthony Vidler, Vidler, Le Corbusier ulised architecture as “a crucial arena for the Surrealist arculaon of space.”25
7
6 Fig. 6. Le Corbusier, Beistegui apartment, photograph in Hitchcock and
Johnson’s “Internaonal Style” Style”.. Fig. 7. Rene Magrie, Birth of an Idol, 1926.
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3.
KOOLHAAS AND THE PARANOIACARANOIAC-CRITICAL CRITICAL METHOD
Rem Koolhaas pledged an allegiance to Le Corbusier’s Modernism – whilst other post-Modernists opposed the “an-diversity of form”, Koolhaas (with OMA) added to it26. It was a credible response for for a formal expression during an opmisc post-war period that simply could not nancially fund an argument against the ecient Modernism of Mies van der Rohe. Koolhaas realised the necessity of a post-modern gesture, without neglecng the Modernist fundamental approach to necessity27.
This was a paranoia of Koolhaas, a
theorecal challenge of organisaon (as opposed to ornamentaon) to enhance the spaal experience of architecture within the constraints of necessity necessity,, whilst aaining the pleasures of excess. excess. Thus, Koolhaas turned to the “paranoiaccrical method”; Salvador Dali’s theorecal approach to construct new ideas28.
According to Dali, the simulaon of paranoia induces a systemased state of confusion that undermines all thoughts of raonality – to “discredit the world of reality.”29 It is an extension into the realm of visual connecon to arculate links between images that are not raonally linked:
“For instance, one can see, or persuade others to see, all sorts of shapes in a cloud: a horse, a human body, a dragon, a face, a palace, and so on. Any prospect or object of the Physical world can be treated in this manner, from which the proposed conclusion is that it is impossible impossible to concede any any value whatsoever to immediate reality, since it may represent or mean anything at all” 30
Marcel Jean
Simply put, through this method, Dali portrayed another method of viewing the world. For others (non-Surrealists) me was linear, linear, a regular progression that stemmed stemmed from an established established beginning, middle, and end.
But, in
accordance with this method, Dali proposed me as a labyrinth of processes, with a multude of realies that evolve simultaneously, both dependently and independently from each other. other. Whilst some begin, others may may end, or even
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Le Corbusier, Koolhaas and the Surrealist Legacy
progress throughout. Thus, the paranoiac-crical method became became the tool to visualize these realies, with the hope of provoking the viewer’s imaginaon 31. For Andre Breton, this was an “instrument of primary importance,” with the ulmate success of being able to be “applied equally to painng, poetry, the cinema, the construcon of typical Surrealist objects, fashion, sculpture, the history of art, and even, if necessary, all manner of exegesis.” 32
Koolhaas interprets this Dalinian method method in Delirious New York. York. For Dali, the method aempts to transform unconscious, dream-state images into a tangible reality. For Koolhaas, this becomes synonymous synonymous with concrete – “innitely malleable at rst, then suddenly hard as rock.” 33 Thus, in Delirious New York, he ulizes this ideology to view Modernism from the perspecve of a Surrealist. The conict between the two ideologies is personied through the paranoia of Le Corbusier and Salvador Salvador Dali during their rst rst visit to Manhaan. For Le Corbusier, it was “urbanism with no metaphor…unseducve.” 34 For Koolhaas, this was paranoia – Dali’s paranoia – as Le Corbusier felt mocked by the successful “Manhaanism” that undermined his own ambion of a skyscraper city 35. Except his seemed seemed boring and banal. Le Corbusier needed juscaon juscaon that his vision transcended the already-exisng high-rise skyline, thus became the “paranoid detecve who invents vicms, forged the likeness of the perpetrator and avoids the scene of the crime.”36 He was forced to visualize a parallel reality reality – an unconscious act of Surrealism.
For Koolhaas, this became the vehicle through which to translate the Dalinian method into a tangible, tangible, architectural form. From “Manhaanism”, “Manhaanism”, Koolhaas likened the paranoiac-crical method to reinforced concrete – it is “innitely malleable at rst, then suddenly hard as rock.” 37 For Dali, the method was applied to transform “innitely malleable” dream-state images, into a tangible reality. Thus, Koolhaas reposioned postmodernism postmodernism as a direct response to its predecessors, through a combinaon of historical and ambiguous references to catalyse bouts of cricality and paranoia38. His 1991 Villa dall’Ava dall’Ava was the rst demonstraon of this. Perhaps, for Koolhaas, the paranoia is derived from
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8
his own conicons between Modernist inspiraons and Dalinian tendencies. Aer all, from the outset, the Dali inuence is obvious – Villa dell’Ava, a house supported on slender slts; and Dali’s “Sleep”, a face supported on slender crutches39. Thus, it is through this that Koolhaas captures the tension between
the two conicng conicng ideologies.
As in Dali’s painng, the slts slts become a
prominent element of balance. In “Sleep”, “Sleep”, the visually heavy head is supported by several lighter crutches; suggesng that the head will collapse if one were removed – “For sleep to be possible, a whole system of crutches in a psychic equilibrium is essenal. If only one is missing, one would wake up and above all the lile boat would disappear immediately.” immediately.”40 For Dali, “sleep” “sleep” (or the dreamworld) is supported by the crutches of reality – “When the crutches break, we have the sensaon of falling.”41 Curiously, in Villa Dall’ava, Dall’ava, several slender slts structurally support the Corbusian Modernist box to maintain a sense of equilibrium – in the same way as Dali, if the slts were removed, the box would crash. Is this Koolhaas’ statement statement of Surrealism as a foundaon for for Modernist principles?
11
Fig. 8. Salvador Dali, La Sommeil (Sleep), 1937.
9
Fig. 9. Rem Koolhaas, Villa Dall’ava, Paris, slender
poles support Modernist volume.
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Le Corbusier, Koolhaas and the Surrealist Legacy
4.
A SUPERIOR REALITY: THE NEW PARADIGM
Perhaps, it is too provocave to prematurely connect Zaha Hadid to the Surrealist school of thought. Aer all, there is no explicit evidence to suggest their respecve processes stem from a subconscious desire. Perhaps, it is no longer an exaggeraon to claim that Surrealism has transgressed its manifestos, to inspire a succession of movements and facules 42. Perhaps, the catalyst of a Surrealist presence presence is culture. For Charles Jencks, consumerism has led architects into the “vicious trap” of shiing from tradion, to an arena of internaonal compeon, where the absence of an anchored belief system “new paradigm” of leads to a bland minimalism and neutrality 43. This is his “new architecture. Perhaps, the paradigm goes beyond beyond a neglect of tradion, whereby architecture becomes internaonal landmarks to sasfy powerful polical egos (has the paranoia reached a polical eld?) Thus, the injuncon is to create an “extraordinary” building, a nd must look like “nothing we have seen before”, before”, an enigmac act of progression44. But the underlying principle is excess, excess, the aforemenoned vehicle of sensual pleasure that is historically synonymous with Surrealism. Aer all, what is more intriguing to the human mind, than the state state of “sur-reality”?
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Zaha Hadid has demonstrated an unconscious obsession with this “sur-reality” “sur-reality”.. She explored aspects of experienal space through the dimension of paranoia paranoia,, akin to Koolhaas. Koolhaas. Aer all, she was his brightest brightest pupil45. Like her mentor, Hadid expressed an allegiance to early Modernism, an “incomplete project that deserved to be connued.”46 For Koolhaas, Corbusian principes had not yet yet “exhausted its possibilies.” 47 Thus, as in her artworks and schemes of postmodern 1980s, Hadid began experimenng with the tangibility (or intangibility) of space through an abstracted planar style, where geometric shapes and a labyrinth of lines are layered to depict acts of mechanised movement48. Whilst she does not explicitly acknowledge its presence, it bares anies with the art of Chilean Surrealist Roberto Maa, a former pupil of Le Corbusier who did inially admire his Modernism49. As a result, result, his painngs oen captured an imagined architectural space, with Surrealist disturbances of Duchamp’s erocism and objet trouve. This juxtaposion between landscape and object reveals a fragmented chasm between real and imagined50.
Maa depicted this in a 1938 Minotaure illustraon of an apartment, to a onepage manifesto entled “Mathemaque sensible – Architecture du temps.”51 It is an imagined space, with surreal irraonalies illustrated through mulple foci of curious objects and strange contrasts52.
Fig. 10. Roberto Maa, illustraon of apartment in
10
14
Minotaure magazine, 1938.
Le Corbusier, Koolhaas and the Surrealist Legacy
This curiosity is further enhanced by the spontaneity of sinuous lines (a suggeson of warped space) to foil the ordinary perspecve in the foreground53. The result is the archetypal juxtaposion of reality and surreality.
For Hadid, this juxtaposion serves as the conceptual foundaon of her works. The rst exploraons of this are her 1980s artworks and unbuilt schemes, parcularly Parc de la Vilee Vilee (1983) and The Peak Leisure Club (1991). It was during this decade, that she developed a disncve calligraphic method of sketching (or painng) for the inial phase of her projects54. Whilst her lines and geometry bares anies to the mechanised abstracon of Kandinksy, it is through spontaneity that Hadid reveals the intangible spaal ows and rhythms hidden in the sites55. Thus, unlike Surrealist arsts, her spontaneity
is not just a vehicle to explore explore the unconscious psyche. psyche. For The Peak, this is through the fragmentaon of shard-like geometries to explore energec and dynamic forms56. Space is conceived through the layering layering of these shapes, shapes, a morphological method that Maa also invesgated. invesgated. His “Spling the Ergo” (1946) is synonymous of this method, as Maa developed a more abstract style, through the layering of planar geometry over soer, biomorphic ones57. For Hadid, the result is the layering of vercal volumes (buildings) to depict a hecc Hong Kong, Kong, as an imposion in the mountainous landscape. Thus, Hadid perched her architecture at the “peak”, distant from the chaos below. Curiously, this bares anies with the aforemenoned Magrie element of the rising stair above a raging sea. Likewise, in her conceptual drawings for the Parc Parc de la Vilee compeon, Hadid created a series of overlays: stacked planes of uninterrupted spaces that hover over the landscape58. On one of these layers is a representaon of elevated gardens, with kiosks, restaurants and picnic areas on their own respecve layers, so the spaal experience becomes a vercal slice, with an innite juxtaposion of spaces59.
15
Fig. 11. Roberto Maa, Spling the Ergo, 1946, Fig. 12. Zaha Hadid, The Peak Leisure
Club, 1991, aerial painng of Hong Kong, with Hadid’s leisure in top right
corner.
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5.
CONCLUSION
In essence, Surrealism has become prevalent as a foundaonal element in the pracce of architecture throughout the tweneth tweneth century. Perhaps, that is its greatest achievement – to inform a succession of ideologies over the span of a century, an open dimension through which the subconscious has a subtle
freedom to present present itself in any medium. The result is always an experienal sensuality, an excess excess of pleasure that Bataille refers to as the “eroc”. “eroc”. For Le Corbusier,, the Villa Savoye became epitomised the best of both worlds – a pure Corbusier symbol of Modernist perfecon, that was subjected to the transgression and decay.. This was the catalyst for Rem Koolhaas decay Koolhaas to explore noons of Surrealism as a response to Modernism, leading him to a conicted architecture of a Dalinian gaze. Having studied under Koolhaas, Hadid displayed displayed a Le Corbusian obsession with experienal space, except except with the element of spontaneity. spontaneity. This resulted in a juxtaposion of reality and surreality, which is, in the realm of consumerist culture and technological advancement, the instrument to sasfy the architectural ego – the new paradigm in architecture.
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Le Corbusier, Koolhaas and the Surrealist Legacy
ENDNOTES
1.
Silvano Levy, “Menace: Surrealist Interference of Space,” in Surrealism
and Architecture, ed. Thomas Mical (New York: Routledge, 2005), 60.
2.
Ibid.
3.
Ibid., 103.
4.
Ibid.
5.
Jonathan Mosley and Rachel Sara, “Architecture and Tr Transgression: ansgression: an
Interview with Bernard Tschumi,” Tschumi,” Architectural Design 83, no. 6 (2013): 35. 6.
Louis Rice and David Lileeld, Transgression: Towards an Expanded
Field of Architecture (New York: Routledge, 2014), 13.
7.
Klem James, “Breton, Bataille and Lacan’s Noon of Tr Transgressive ansgressive
Sublimaon,” E-Pisteme 2, no. 1 (2009): 61. 8.
Rice and Lileeld, Transgression , 13.
9.
Ibid.
10.
Ibid.
11.
Mosley and Sara, “Architecture and Tr Transgression, ansgression,”” 36.
12.
Ibid.
13.
Kari Jormakka, “The Most Architectural Thing,” in Surrealism and
Architecture, ed. Thomas Mical (New York: Routledge, 2005), 293.
14.
Tiziano Aglieri Rinella, “Le Corbusier’s Uncanny Interiors” (PhD diss.,
Al Ghurair University Dubai, 2015), 4. 15.
Ibid.
16.
Ibid.
17.
Stanislaus von Moos, Le Corbusier: Elements of a Synthesis
(Netherlands: 010 Publishers, 2009), 308. 18.
Ibid., 311.
19.
Ibid.
20.
Alexander Gorlin, “The Ghost in the Machine,” in Surrealism and
Architecture, ed. Thomas Mical (New York: Routledge, 2005), 111.
21.
Ibid., 112.
22.
Ibid.
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23.
Ibid.
24.
Jormakka, “The Most Architectural Thing,” 293.
25.
Anthony Vidler Vidler,, “Fantasy “Fantasy,, the Uncanny and Surrealist Theories of
Architecture,” Papers of Surrealism, no. 1 (2003): 1. 26.
Ross Kelly Kelly,, “Towards a Paranoid Crical Postmodernism” (PhD diss.,
University of Westminster, Westminster, 2011), 27. 27.
Ibid.
28.
Ibid.
29.
Ibid., 29.
30.
“Salvador Dali’s Paranoiac-Crical Method, Method,”” Language is a Virus,
accessed May 23, 2016, 2 016, hp://www.languageisavirus.com/arcles/ arcles.php?subacon=showcomments&id=1099110809&archive=&start_ from=&ucat=#.V0Sw9ZN96uU. 31.
Kelly,, “Towards a Paranoid Crical Postmodernism, Kelly Postmodernism,”” 29.
32.
Andre Breton, “What is Surrealism?” (lecture given at public meeng
for the Belgian Surrealists, Brussels, Belgium, June 1, 1934). 33.
Rem Koolhaas, Delirious New York: A Retroacve Manifesto for
Manhaan (New York: The Monacelli Press, 1978), 248.
34.
Ibid.
35.
Ibid., 250.
36.
Ibid.
37.
Ibid., 248.
38.
Antonio Furgiuele, “Compung the Paranoid Crical” (paper
presented at annual meeng for the Associaon of Collegiate Schools of Architecture, Seale, Washington, 2011), 646. 39.
Barbara Penner Penner,, “Surrealism and the House: Dream Homes Should
Stay as Fantasies,” The Architectural Review 226, no. 1362 (2010): 33. 40.
Jane Alison, The Surreal House: Architecture of Desire (Conneccut:
Yale University University Press, 2010), 22 8. 41.
Ibid.
42.
Thomas Mical, “Introducon, “Introducon,”” in Surrealism and Architecture, ed.
Thomas Mical (New York: Routledge, 2005), 3.
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Le Corbusier, Koolhaas and the Surrealist Legacy
43.
Charles Jencks, The New Paradigm in Architecture: The Language of
Postmodernism (Conneccut: Yale University Press, 2002), 158.
44.
Ibid.
45.
Detlef Merns, “The Modernity of Zaha Hadid,” in Zaha Hadid , ed.
Zaha Hadid (New York: Guggenheim Museum Publicaons, 2006), 33. 46.
Ibid.
47.
Kelly,, “Towar Kelly “Towards ds a Paranoid Crical Postmodernism, Postmodernism,”” 11.
48.
Merns, “The Modernity of Zaha Hadid,” 32.
49.
Curs Carter Carter,, “Maa: Surrealism and Beyond, Beyond,”” in Maa: Surrealism
and Beyond , ed. Maa Echaurren and Roberto Sebasan (Milwaukee:
Haggerty Museum of Art, Marquee University, 1997), 11. 50.
Ibid., 14.
51.
Daniel Nagaele, “Le Corbusier and Physically Innovang Space, Space,””
Architecture Conference Conference Proceedings Proceedings and Presentaons, Presentaons, no. 49 (2009): 50.
52.
Ibid.
53.
Ibid.
54.
Merns, “The Modernity of Zaha Hadid,” 35.
55.
Ibid.
56.
“The Peak Project, Hong Kong, China,” Museum of Modern
Art, last accessed May 23, 2016, hp://www.moma.org/collecon/ works/202?locale=en. 57.
Carterr, “Maa,” 14. Carte
58.
“Parc de la Vilee Project, Paris, France, France,”” Museum of Modern
Art, last accessed May 23, 2016, hp://www.moma.org/collecon/ works/363?locale=en. 59.
Ibid.
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Bien Casllo
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