چکیده:
The following attempts to discuss the different approaches to privacy adopted by Adolf Loos and Le Corbusier, as two of the most influential pioneers of modern architecture. It will be argued that both architects were influenced by the developing technologies of their time, yet they reacted differently to the increasing influence of film and photography on art, architecture and everyday life. The paper structures its argument in two parts: the first part discusses Walter Benjamin’s theories on the difference between traditional art and modern art and how advances in technology undermined the aura of a work of art and made it more accessible to the masses. In the second part of this paper, Loos and Le Corbusier’s different architectural strategies are analysed and compared. It will be argued that Loos’s approach to the distinctions between publicity and privacy and masculine and feminine aspects of architecture, differs fundamentally from those views held by Le Corbusier, who was much more in favour of the modern technological advances. It will be further elaborated that Loos’s architecture displays a translucent philosophy, maintaining the interaction and seduction between the two sides of the architectural surface. Le Corbusier on the other hand, fluctuates between a reflective philosophy and transparent philosophy of the gaze, imploding the traditional distinctions between inside and outside, private and public.
خلاصه ماشینی:
It will be argued that Loos’s approach to the distinctions between publicity and privacy and masculine and feminine aspects of architecture, differs fundamentally from those views held by Le Corbusier, who was much more in favour of the modern technological advances.
<H2>AURA, SHELL OR NATURAL DISTANCE OF A WORK OF ART</H2> Since the advent of &quot;mass media&quot;2 writers and critics have been analysing the effects of new technologies on notions of authenticity, creativity and society in general.
4 In this context, artistic productions based on new technologies of mass reproduction, maintain a different relationship to authenticity, one that is not based on traditional definitions: &quot;To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility.
In Privacy and Publicity Colomina argues that with modernity, the site of architectural production literally moved from the street into photographs, films, publications, and exhibitions resulting in a new sense of space defined by images rather than walls (Colomina, 1994, pp.
In order to illustrate this, he pushes his architectural style towards men’s attire, which he believes to be more advanced and dignified than that of a woman: &quot;The clothing of the woman is distinguished externally from that of the man by the preference for ornamental and colourful effects and by the long skirt that covers the legs completely.
Loos expressed a disregard for new media technologies defining them as superficial effects that distract architecture into the universe of merchandise and therefore destroys its potential for transcendence: &quot;It is my greatest pride that the interiors which I have created are totally ineffective in photographs.