Surface – Giuliana Bruno

Surface – Giuliana Bruno

Introduction

Le Corbusier’s notion of architecture with surface 이건 쓸만함?

In my view, a screen-membrane is emerging, performing as a connective tissue, and turning architecture and art into pliant planes of moving images. It can be a permeable architectural envelope, and it is habitable space. On this material level, the current intersections of canvas, wall and screen treated here is a site in which distinctions between inside and outside temporally dissolve into the depth of surface. (5)

Bruno pursues a theorization of the screen as a surface of substantial transformations. in the quality of projectibe surface. (6)

Chapter 1

It is important to note that the surface first appears manifested materially in its epidermic origin- as a “surface”- in the history of media. I turn to the landscape of this sur-face to address a form of encounter that is materially “mediated” through textures and to explore the idea that affect becomes mediated on the surface. (14)

Chapter 3

Le Corbusier 자꾸 인용함. check. 

Cinema is an expression of plastic luminosity, an art of projection of multiple, mutable planes. It joins architecture as a space that is built and transformed by light, which is itself a form of architecture. 이거 나랑 많이 다른 입장. Film and architecture are both sites of dwelling that are not only fundamentally perceived by light but also abosrbed, and altered, as one moves through spaces of light. (55) 이 부분에서 Le Corbusier랑 비슷하다는 것인데- 나는 이걸 PM으로 연결

In Bruno’s view, the screen is the surface that clothes filmic matters. (56) 이게 나랑 다름. 

Sigfried Krakauer’s critical investment in mattes of surface is evident even … 이 사람의 Flaneur를 PM이랑 연결하자.

Krakauer showed that the surface of the city transferred onto the film screen and permeated even the design of the movie house. (56) .. He notes that the architecture of the film theater is itself home to phnomenological externality.… The film theater becomes a secular cathedral devoeted to the transitory cult of images– fleeting projections of light traveling on an elusive surface. … the film spectator is attracted to the surface.  (58)

Viewing chambers

이 부분은 내가 인용함. (67)

71 페이지, architectural promenade도 인용함. (71)

the surface becomes a projective environment.

about McCall: that is a journey into the light. the ever-shifting flow of interiority and exteriority, mediated by the surface, migrates into the art of projection as a durational, relational experience that is materially sited. (71)

Chapter 4

In fact, as we ponder the architecture of this installation, we may come to question canonical notions of the screen, and thereby advance its theorization. … The screen is dressed as a different surface. It is rather reconfigured as a type of canvas. (75) art에서의 screen 정의랑, architecture에서 screen 정의를 비교해봐라. 어떻게 다른지. 

Wodiczko 예로 든다. The surface of these architecures functions as an elaborate form of mediation. (76)

Surface tension에 대해서 이야기 한다. membrane이야기를 중점적으로 함 (80) porous membrane. viewer가 immerse할 수 있게 됨. (80)

Wodiczko’s projection keeps the language of film 이거랑 비슷함. keep이라고 해라. not sever.  

 

 

 

 

 

 

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