The idea that architecture has such a relevant influence on
people’s lives and decisions, lead ph... more The idea that architecture has such a relevant influence on people’s lives and decisions, lead philosopher and sociologist Henri Lefebvre to affirm that architecture could easily become a means of power, since “we shape our buildings; thereafter they shape us”6. This conclusion was also made by the leader of the fascist movement Benito Mussolini, who gathered the most renowned architects to redesign the city of Rome in order to propagandize his regime. Traces of this can be largely found in the E.U.R. residential and business district, where we can notice buildings such as the Palazzo della Civiltà Italiana and the Palazzo dei Congressi, that are both characterized by a sense of modernity, but at the same time commemorate the ancient Roman Empire, symbolizing the fascist ideology.
The architect’s aforementioned conception of the building, which starts from the event of the con... more The architect’s aforementioned conception of the building, which starts from the event of the concert, suggests that structure is completely suppressed because it can play no part in the composition. The way he deals with details further illuminates Scharoun’s approach: structural articulation was a mere expression of conjunctions and adjacencies and was not conceived of as the directing and control of forces. The architect explains that “Everything here serves to prepare for the experience of music, all spaces are related in dynamic tension to the solemn serenity of the auditorium which in the true sense of the world crowns the building.”
The idea that architecture has such a relevant influence on
people’s lives and decisions, lead ph... more The idea that architecture has such a relevant influence on people’s lives and decisions, lead philosopher and sociologist Henri Lefebvre to affirm that architecture could easily become a means of power, since “we shape our buildings; thereafter they shape us”6. This conclusion was also made by the leader of the fascist movement Benito Mussolini, who gathered the most renowned architects to redesign the city of Rome in order to propagandize his regime. Traces of this can be largely found in the E.U.R. residential and business district, where we can notice buildings such as the Palazzo della Civiltà Italiana and the Palazzo dei Congressi, that are both characterized by a sense of modernity, but at the same time commemorate the ancient Roman Empire, symbolizing the fascist ideology.
The architect’s aforementioned conception of the building, which starts from the event of the con... more The architect’s aforementioned conception of the building, which starts from the event of the concert, suggests that structure is completely suppressed because it can play no part in the composition. The way he deals with details further illuminates Scharoun’s approach: structural articulation was a mere expression of conjunctions and adjacencies and was not conceived of as the directing and control of forces. The architect explains that “Everything here serves to prepare for the experience of music, all spaces are related in dynamic tension to the solemn serenity of the auditorium which in the true sense of the world crowns the building.”
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people’s lives and decisions, lead philosopher and sociologist
Henri Lefebvre to affirm that architecture could easily become a
means of power, since “we shape our buildings; thereafter they
shape us”6. This conclusion was also made by the leader of the
fascist movement Benito Mussolini, who gathered the most
renowned architects to redesign the city of Rome in order to
propagandize his regime. Traces of this can be largely found in
the E.U.R. residential and business district, where we can notice buildings such as the Palazzo della
Civiltà Italiana and the Palazzo dei Congressi, that are both characterized by a sense of modernity,
but at the same time commemorate the ancient Roman Empire, symbolizing the fascist ideology.
The way he deals with details further
illuminates Scharoun’s approach:
structural articulation was a mere
expression of conjunctions and adjacencies and was not conceived of as the directing and control of forces.
The architect explains that “Everything here serves to prepare for the experience of music, all spaces are related in dynamic tension to the solemn serenity of the auditorium which in the true sense of the world crowns the building.”
people’s lives and decisions, lead philosopher and sociologist
Henri Lefebvre to affirm that architecture could easily become a
means of power, since “we shape our buildings; thereafter they
shape us”6. This conclusion was also made by the leader of the
fascist movement Benito Mussolini, who gathered the most
renowned architects to redesign the city of Rome in order to
propagandize his regime. Traces of this can be largely found in
the E.U.R. residential and business district, where we can notice buildings such as the Palazzo della
Civiltà Italiana and the Palazzo dei Congressi, that are both characterized by a sense of modernity,
but at the same time commemorate the ancient Roman Empire, symbolizing the fascist ideology.
The way he deals with details further
illuminates Scharoun’s approach:
structural articulation was a mere
expression of conjunctions and adjacencies and was not conceived of as the directing and control of forces.
The architect explains that “Everything here serves to prepare for the experience of music, all spaces are related in dynamic tension to the solemn serenity of the auditorium which in the true sense of the world crowns the building.”