Beatriz Colomina investigates the intimate spaces created in Adolf Loos & Le Corbusier's architecture, focusing on the theory of sexuality in architectural terms. Colomina writes about these homes as though she is a detective who is writing about domestic voyeurism and the spaces created of which to gaze into, or to be gazed from.
Colomina investigates Adolf Loos spatial setting out and theatrical orientations to create theatre like experiences for the occupants. Everything is planned with respect to gazes. What can be seen and from where, a voyeuristic approach to architecture. The example being 'a raised seating platform', not intended primarily for relaxation or social aspects, but to be used as an 'observation platform'. This platform allows the occupants to see intruders who may cross the threshold, allowing nothing to go undetected as if the conceptual idea was that of a theatre stage. The inhabitants resemble both the actors and the spectators. When in role as the actor, they can be seen, when in role as the spectator, they are able to see. In Loos design of the Josephine Baker House, a swimming pool is centred to the glass passages which surround it. The swimmer is then seen in a vulnerable position from a vulnerable angle, the sense of voyeuristic peep show to admire the subjects body whilst swimming 'upstairs', where most sexual and private activities occur. Although you may think, if you could gaze up into the pool from beneath you could reverse the gaze, if you were the subject in the pool, you would be less aware of somebody beneath you, the water would distort the view down, revealing an eerie blurred silhouette figure below.
Le Corbusier, however, portrays the architecture as the frame, a cinematic way to construct a view. His building becomes the 'camera'. Le Corbusier's spatial setting out draws occupants to gaze out into the framed view, unlike Loos who repeatedly draws the gazes back into the interior as we saw with his use of mirrors. Le Corbusier wants us to be the voyeurs, not to observe the occupants, but their paraphernalia. Le Corbusier frames every view so that we are forced to see what he wants us to see.
The Split Wall is an appreciation to architecture through sexuality. Architecture should be seen as more than a shelter. Spatial layouts and psychological impacts should be considered to add another dimension. Differences between interior/exterior, public/private and object/subject has been questioned in this chapter an should be considered for the future. All of these are important issues which can be designed into buildings, spatial awareness and their views internally and externally need consideration when implemented into buildings.
Colomina investigates Adolf Loos spatial setting out and theatrical orientations to create theatre like experiences for the occupants. Everything is planned with respect to gazes. What can be seen and from where, a voyeuristic approach to architecture. The example being 'a raised seating platform', not intended primarily for relaxation or social aspects, but to be used as an 'observation platform'. This platform allows the occupants to see intruders who may cross the threshold, allowing nothing to go undetected as if the conceptual idea was that of a theatre stage. The inhabitants resemble both the actors and the spectators. When in role as the actor, they can be seen, when in role as the spectator, they are able to see. In Loos design of the Josephine Baker House, a swimming pool is centred to the glass passages which surround it. The swimmer is then seen in a vulnerable position from a vulnerable angle, the sense of voyeuristic peep show to admire the subjects body whilst swimming 'upstairs', where most sexual and private activities occur. Although you may think, if you could gaze up into the pool from beneath you could reverse the gaze, if you were the subject in the pool, you would be less aware of somebody beneath you, the water would distort the view down, revealing an eerie blurred silhouette figure below.
Le Corbusier, however, portrays the architecture as the frame, a cinematic way to construct a view. His building becomes the 'camera'. Le Corbusier's spatial setting out draws occupants to gaze out into the framed view, unlike Loos who repeatedly draws the gazes back into the interior as we saw with his use of mirrors. Le Corbusier wants us to be the voyeurs, not to observe the occupants, but their paraphernalia. Le Corbusier frames every view so that we are forced to see what he wants us to see.
The Split Wall is an appreciation to architecture through sexuality. Architecture should be seen as more than a shelter. Spatial layouts and psychological impacts should be considered to add another dimension. Differences between interior/exterior, public/private and object/subject has been questioned in this chapter an should be considered for the future. All of these are important issues which can be designed into buildings, spatial awareness and their views internally and externally need consideration when implemented into buildings.
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