Eppur si muove
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Published:
Aug 10, 2014
Keywords:
Movement
circulation
mechanistic metaphors
infrastructure
limits
Section
Dossier translations
Main Article Content
Abstract
What is the form of movement This essay examines how architecture has consistently rejected movement, while at the same time
claiming that it is at the centre of its preoccupations. The essay focuses on Bolles + Wilson’s New Luxor Theatre to investigate how
this building, and more specifically, its ramp for trucks, propose a new way of understanding the relationship between movement
and buildings. To put forward its argument, the essay draws both from architectural history (the uses of terms such as "circulation"
or the recourse to mechanistic metaphors, such as the liner) and an analysis of the architectural element itself (how this ramp differs
from others). Overall, the essay investigates how architecture, by definition a static pile of material, deals with the most unstable and
unpredictable element of all, the mobile.
claiming that it is at the centre of its preoccupations. The essay focuses on Bolles + Wilson’s New Luxor Theatre to investigate how
this building, and more specifically, its ramp for trucks, propose a new way of understanding the relationship between movement
and buildings. To put forward its argument, the essay draws both from architectural history (the uses of terms such as "circulation"
or the recourse to mechanistic metaphors, such as the liner) and an analysis of the architectural element itself (how this ramp differs
from others). Overall, the essay investigates how architecture, by definition a static pile of material, deals with the most unstable and
unpredictable element of all, the mobile.
Article Details
García de Cortázar, G. (2014). Eppur si muove. Materia Arquitectura, (09), 94–97. https://doi.org/10.56255/ma.v0i09.182
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References
BOLLES, J., & WILSON, P. (mayo-junio de 2001). La escala del Europaisaje: una conversación con Julia Bolles y Peter Wilson (M. Zardini, Entrevistador) El Croquis, 2(105), 6-21.
FORTY, A. (2000). Words and Buildings: A Vocabulary of Modern Architecture. Nueva York: Thames & Hudson.
FORTY, A. (2001). The Royal Festival Hall – a “Democratic” Space? En L. Borden, J. Kerr, & J. Rendell. (Eds.), The Unknown City: Contesting Architecture and Social Space (págs. 200-211). Cambridge, EE.UU.: MIT Press.
PICON, A. (1992). French Architects and Engineers in the Age of Enlightenment. Cambridge, Inglaterra: Cambridge University Press.
PURVES, A. (2010). Space and time in ancient greek narrative. Cambridge, Mass.: Cambridge U. Press.
WILSON, P. (1984). Peter Wilson: bridge buildings and the shipshape / Folio published to coincide with an exhibition held at the Architectural Association 1984. Londres: Architectural Association (la Architectural Association figura como autor en Worldcat y los registros de la AA) .
WILSON, P., MALINOWSKI, A., & NYMAN, M. (2002). The Luxor Letters. AA Files (48).
FORTY, A. (2000). Words and Buildings: A Vocabulary of Modern Architecture. Nueva York: Thames & Hudson.
FORTY, A. (2001). The Royal Festival Hall – a “Democratic” Space? En L. Borden, J. Kerr, & J. Rendell. (Eds.), The Unknown City: Contesting Architecture and Social Space (págs. 200-211). Cambridge, EE.UU.: MIT Press.
PICON, A. (1992). French Architects and Engineers in the Age of Enlightenment. Cambridge, Inglaterra: Cambridge University Press.
PURVES, A. (2010). Space and time in ancient greek narrative. Cambridge, Mass.: Cambridge U. Press.
WILSON, P. (1984). Peter Wilson: bridge buildings and the shipshape / Folio published to coincide with an exhibition held at the Architectural Association 1984. Londres: Architectural Association (la Architectural Association figura como autor en Worldcat y los registros de la AA) .
WILSON, P., MALINOWSKI, A., & NYMAN, M. (2002). The Luxor Letters. AA Files (48).
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