Architecture As Icon
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Architecture as Icon
"Byzantine art abandoned classical ideals in favor of formulas that conveyed spiritual concepts through stylized physical forms. Previous scholarship dealing with Byzantine icons has been largely focused on depictions of holy figures, dismissing representations of architecture as irrelevant space-filling background. Architecture as Icon demonstrates that background representations of architecture are meaningful, active components of compositions, often as significant as the holy figures. The book provides a critical view for understanding the Byzantine conception of architectural forms and space and the corresponding intellectual underpinnings of their representation." "Architecture as Icon features four thought-provoking essays. The catalogue groups the material into four categories: generic, specific, and symbolic representations, culminating in a final grouping entitled "Jerusalem." Handsomely designed and illustrated, this volume addresses various approaches to depicting architecture in Byzantine art that contrast sharply with those of the Renaissance and Western artistic tradition." --Book Jacket.
The Icon Project
The Icon Project argues that the transnational capitalist class mobilizes two forms of iconic architecture--unique icons recognized as works of art, notably designed by global starchitects (such as Frank Gehry and Zaha Hadid); and typical icons copying elements of unique icons--to promote the same ideological message: the culture-ideology of consumerism.
Mute Icons
Mute Icons challenges fixed aesthetic notions of beauty in architecture as both, disciplinary discourse and a spatial practice within the public realm, by intersecting historic antecedents and present instances within contemporary projects wherein indeterminacy, monolithicity and defamiliarization play a speculative role in constructing withdrawn, irritant and yet engaging architectural images. No longer concerned with narrative excesses or with the "shock and awe" of sensation making; the mute icon becomes intriguing in its deceptive indifference towards context, perplexing in its unmitigated apathy towards the body. Object and building, absolute and unstable, anticipated and strange, manifest and withdrawn, such is the dichotomy of mute icons. Dwelling in the paradox between silence and sign and aiming to debunk a false dichotomy between critical discourse, a pursue of formal novelty and the attainment of social ethics, “Mute Icons” reaffirms the cultural need and socio-political relevance of the architectural image, suggesting a much-needed resolution to the present but incorrect antagonism between formal innovation, social responsibility and economic austerity. Intersecting relevant historical antecedents and polemic theoretical speculations with original design concepts and provocative representations of P-A-T-T-E-R-N-S recent work, the book aspires to stimulate authentic speculations on the real.