In 2017 a group of conservators-restorers conducted a conservation-science study of the materials used in the construction of Josef Frank’s main work,the Villa Beer(1930)in Vienna-Hietzing,and of the building’s surf...In 2017 a group of conservators-restorers conducted a conservation-science study of the materials used in the construction of Josef Frank’s main work,the Villa Beer(1930)in Vienna-Hietzing,and of the building’s surfaces.The study was an opportunity to find evidence indicating whether the contemporary description of the wall colour as a non-colour white corresponded to physical reality.The notion‘Weiss,alles Weiss’(‘white,everything white’),celebrated as‘an expression of values and of the times’(Hammann,1930),will be identified as a cultural construct that stands in contradiction to the actual materiality of the buildings of the period.We must rewrite the colour history of Modern Movement architecture.The‘White Cubes’were never white.展开更多
本文节译自《劳特利奇舞台美术指南》(The Routledge Companion to Scenography)的导言,该书是囊括范围最广、最全面的,有关当前舞台美术发展趋势的原创论文集,书中首次为“scenography”(舞台美术)这个饱受争议的术语确立了一个稳定的...本文节译自《劳特利奇舞台美术指南》(The Routledge Companion to Scenography)的导言,该书是囊括范围最广、最全面的,有关当前舞台美术发展趋势的原创论文集,书中首次为“scenography”(舞台美术)这个饱受争议的术语确立了一个稳定的表述。本文梳理了“scenography”一词的演变和发展,其线索追溯至亚里士多德的《诗学》,再到布莱希特、阿尔托、斯沃博达,一直延伸至当代的新兴戏剧形式和数字媒体演出。文中论述了舞台美术的转向,将舞台美术视为演出中所有视觉、空间和感官元素的总和,并强调了当今充分发展“舞台美术研究”这一学科的必要性。展开更多
基金The MAK(Museum of Applied Arts),Vienna and the Austrian Federal Heritage Authority funded the conservation-science study of the Villa Beer,Vienna/Austria.
文摘In 2017 a group of conservators-restorers conducted a conservation-science study of the materials used in the construction of Josef Frank’s main work,the Villa Beer(1930)in Vienna-Hietzing,and of the building’s surfaces.The study was an opportunity to find evidence indicating whether the contemporary description of the wall colour as a non-colour white corresponded to physical reality.The notion‘Weiss,alles Weiss’(‘white,everything white’),celebrated as‘an expression of values and of the times’(Hammann,1930),will be identified as a cultural construct that stands in contradiction to the actual materiality of the buildings of the period.We must rewrite the colour history of Modern Movement architecture.The‘White Cubes’were never white.
文摘本文节译自《劳特利奇舞台美术指南》(The Routledge Companion to Scenography)的导言,该书是囊括范围最广、最全面的,有关当前舞台美术发展趋势的原创论文集,书中首次为“scenography”(舞台美术)这个饱受争议的术语确立了一个稳定的表述。本文梳理了“scenography”一词的演变和发展,其线索追溯至亚里士多德的《诗学》,再到布莱希特、阿尔托、斯沃博达,一直延伸至当代的新兴戏剧形式和数字媒体演出。文中论述了舞台美术的转向,将舞台美术视为演出中所有视觉、空间和感官元素的总和,并强调了当今充分发展“舞台美术研究”这一学科的必要性。
