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Architecture and Cubism

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A fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief. In the first historically focused examination of the issue, the volume returns to the original site of cubist art in pre-World War I Europe and proceeds to examine the ...

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Overview

A fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief. In the first historically focused examination of the issue, the volume returns to the original site of cubist art in pre-World War I Europe and proceeds to examine the historical, theoretical, and socio-political relationships between avant-garde practices in painting, architecture, and other cultural forms, including poetry, landscape, and the decorative arts. The essays look at works produced in France, Germany, the Netherlands, and Czechoslovakia during the early decades of the twentieth century.Together, the essays show that although there were many points of intersection — historical, metaphorical,theoretical, and ideological — between cubism and architecture, there was no simple, direct link between them. Most often the connections between cubist painting and modern architecture were construed analogically, by reference to shared formal qualities such as fragmentation, spatial ambiguity, transparency, and multiplicity; or to techniques used in other media such as film, poetry, and photomontage. Cubist space itself remained two-dimensional; with the exception of Le Cobusiers work, it was never translated into the three dimensions of architecture. Cubism's significance for architecture also remained two-dimensional — a method of representing modern spatial experience through the ordering impulses of art.Copublished with the Canadian Centre for Architecture/CentreCanadien d'Architecture

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Product Details

Meet the Author

Eve Blau is Lecturer in Architecture at the Graduate School of Design, Harvard University.

Nancy J. Troy is Chair of the Art History Department at the University of Southern California.

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Table of Contents

Foreword
Preface
Introduction 1
1 The Maison Cubiste and the Meaning of Modernism in Pre-1914 France 17
2 The Burden of Cubism: The French Imprint on Czech Architecture, 1910-1914 41
3 Cubism and the Gothic Tradition 59
4 "Architecture" in Leger's Essays, 1913-1933 77
5 Architecture of the Cubist Poem 89
6 The Cell in the City 117
7 Where are We? 141
8 Unnatural Acts: Propositions for a New French Garden, 1920-1930 167
9 Cubistic, Cubic, and Cubist 187
10 Jeanneret-Le Corbusier, Painter-Architect 195
11 Anything but Literal: Sigfried Giedion and the Reception of Cubism in Germany 219
Contributors 252
Photographic Credits 255
Index 257
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