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Form Follows Libido读书介绍

类别 页数 译者 网友评分 年代 出版社
书籍 150页 2020 The MIT Press
定价 出版日期 最近访问 访问指数
USD 30.00 2020-02-20 … 2021-04-12 … 95
主题/类型/题材/标签
architecture,建筑,
作者
Sylvia Lavin      ISBN:9780262122689    原作名/别名:《》
内容和作者简介
Form Follows Libido摘要

"Eight million Americans a year cool their heels in psychiatric waiting rooms. Design can help lower this nervous overhead."
-- Richard Neutra, 1954

Sylvia Lavin's Form Follows Libido argues that by the 1950s, some architects felt an urge to steer the cool abstraction of high modernism away from a neutral formalism toward the production of more erotic, affect...

作者简介

"Eight million Americans a year cool their heels in psychiatric waiting rooms. Design can help lower this nervous overhead."
-- Richard Neutra, 1954

Sylvia Lavin's Form Follows Libido argues that by the 1950s, some architects felt an urge to steer the cool abstraction of high modernism away from a neutral formalism toward the production of more erotic, affective environments. Lavin turns to the architecture of Richard Neutra (1892-1970) to explore the genesis of these new mood-inducing environments. In a series of engaging essays weaving through the designs and writings of this Vienna-born, California-based architect, Lavin discovers in Neutra a sustained and poignant psychoanalytic reflection set in the context of a burgeoning psychoanalytic culture in America.

Lavin shows that Neutra's redirection of modernism constituted not a lyrical regression to sentimentality but a deliberate advance of architectural theory and technique to engage the unconscious mind, fueled by the ideas of psychoanalysis that were being rapidly disseminated at the time. In Neutra's responses to a vivid range of issues, from psychoanalysis proper to the popular psychology of tele-evangelical prayer, Lavin uncovers a radical reconstitution of the architectural discipline.

Arguing persuasively that the received historical views of both psychoanalysis and architecture have led to a suppression of their compelling coincidences and unorthodoxies, Lavin sets out to unleash midcentury architecture's hidden libido. Neither Neutra nor psychoanalysis emerges unscathed from her investigation of how architecture came to be saturated by the intrigues of affect, often against its will. If Reyner Banham sought to put architecture "on the couch," then Lavin, through Neutra, leaps beyond Banham's ameliorative aim to lure contemporary architecture into the lush and dangerous liaisons of environmental design.

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