ANTHONY VIDLER THE ARCHITECTURAL UNCANNY PDF

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Anthony Vidler. The Architecture of the. Uncanny: The Unhomely. Houses of the Romantic. Sublime. 1. Haunted Houses. With the first glimpse of the building. Vidler, Anthony; The Architectural Uncanny; Unhomely Houses. By far the most popular topos of the 19th-century uncanny was the haunted house. The Architectural Uncanny - Anthony Vidler - Download as PDF File .pdf) or view presentation slides online. The Architectural Uncanny - Essays in the Modern.


Anthony Vidler The Architectural Uncanny Pdf

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The-Architectural-Uncanny-Anthony-Vidler (1).pdf - Download as PDF File .pdf) or view presentation slides online. Anthony Vidler interprets contemporary buildings and projects in light of the resurgent The Architectural Uncanny presents an engaging and original series of. criticism because of Anthony Vidler's admira- ble study, The Architectural Uncanny, Essays in the Modern Unhomely.1 Vidler's take on the uncanny begins with.

First, I wish to thank Melissa McQuillan for her astute observations, questions and suggestions that she continued to propose throughout the development of this essay.

Another immense source of inspiration has come from the actual building of Gassehaven 58, in which I grew up. Thank you also to Hanne Loevgren from the borough of Soelleroed Commune, Denmark for supplying me with the blueprint of Gassehaven Last, I would like to express my appreciation to Ulfson Arvidsson without whose persistent support conceptually and with the editing, this dissertation would have been articulated less sensitively. Introduction The aim of this dissertation is to explore the relation between architectural space and emotional and mental development, keeping in mind the potential of architectural space in creating bodily anxiety.

With bodily anxiety I am referring to the idea that the body is a container, enclosing the mind, the brain and some very complex neurological and auto immune systems involving both the emotional and mental life, which related to by surrounding spaces, can cause the individual to be prone to feelings of anxiety. This may mean a definite blurring of subject and object, i. But it may simply mean a distinct confusion of the boundaries1 between the two. The emotional hub of the dissertation, from which all my research has sprung, is the house, Gassehaven 58, in which I grew up see plate 1.

Through research I have scrutinized this place to unearth lost spaces, physical as well as psychological, the disappearances of which have rendered my task of creating a completely coherent narrative difficult.

Holte, Denmark which will be referred to as GH in the captions. It is an exterior representation of the interior, which in a sense conveys as many blanks as my own narrative. But how might I realistically turn the building into the subject? And would that imply that I become the object? And from this point, how viable is it to enquire into the design and structure of the building in order to understand a possible amalgamation of identity between subject and object?

An investigation of a domestic space, a childhood home, a very specific space could, in reverse perspective, be seen as much as an exploration into the formation of identity, and consequently the developing relationships between the identity to that space and vice versa. Through an interest in and discourse with psychoanalysis,4 I have had the possibility to explore under specific guidance the creation of identity in relation to a personal and very specific space like Gassehaven 58, which I have found beneficial in questioning this matter.

Now, if I, as stated above, could turn myself into the object, I wonder whether this general spatial analogy of psychoanalysis could apply to an architectural construction as well. I also wonder whether architecture, in becoming the subject or in the process of an amalgamation of itself as object and the subject, is in fact becoming a natural container for stability, in other words a substitute parent.

Does architecture, in fact impose itself equally on us as we do on to it?

This idea is understood further in 2 Throughout the dissertation I try to distinguish between the psychological subject and the more ordinary use of subject, and of the architectural and human subject.

The use of italics will be in use when I speak of the psychoanalytical subject. Thus personified as the 'Other', architecture and its relationship to space may be, in 5 Lacanian terms, figured as the mirror, and thence the frame of anxiety and shape of desire. This will be my entry point of understanding the physicality and functionality of the house. It will also anchor the design of the house within already developed ideas of contemporary architecture developed within space and spatial psychology.

By using the original blueprint of Gassehaven 58, to retrace an architectural space and as a map for resurrecting memories, I am in fact drawing material from an ancient idea of systematizing 5 Vidler, Anthony, Warped Space, p.

However, his pieces of architecture also seem to play on the tension between interior and exterior, masculine and feminine etc. Could a possible unfulfilled and unidentified emotional bond between mother and child become transferred and hence projected upon the architectonic embodiment and thus create an imaginary womb in which the child feels safe?

Could this unfulfilled emptiness be replaced by creating a sense of bondage between the child and the surrounding architecture that in turn function as a substitute sense of security disguising the underlying sense of disgust of the Self and the body. Therefore recreating an underlying repetitive pattern of rejection of the Mother, which again in the long run could prevent the child from developing its own identity.

Her pieces, although fragmentary, in themselves contain a completion of space that reflects both the ideas of the inverted space as well as recreating a blueprint out of lost and re-found memories. It consists of two-floor row houses built in Of these houses 23 measure square meters and 85 measure square meters, however the inherent conceptual construction of the house remains the same through both constructions see plate 5.

Each type of house would flank the tree-lined connecting roads with garages and tool sheds.

The construction of the houses consists of one part built in yellow brick and another part in glass. The idea of the one and a half floor conservatory was new in Denmark at this point in time, but to renew the tradition of domestic housing was one of the priorities of Palle Suenson, the senior architect of the Gassehaven project.

This infrastructure supported the children who otherwise would have to walk great lengths to get to other parts of the blocks. It also created a community with interaction all across the site, between adults as well as between children see plate 6. When looking at the buildings of Gassehaven from the outside the brick building completely veils the internal part of the house whereas the interior of the conservatory is totally visible see previous plate 1.

The inside of the house is fully fitted with neutral wooden doors and wooden parquet floors, except in the conservatory where the floor is constructed of tiles of asphalt stone.

According to one of the architects, Martin Rubow14 the inspiration for the house had arrived from on the one hand, a particular Italian housing construction of functionality, with domestic quarters on the ground floor and workshop facilities above, and on the other the greenhouse seen in the yards of the gardener. The Italian idea using the space to its limit becomes apparent when one notices that the sleeping quarters are minute compared with the spacious conservatory and the living room upstairs, which could be used as both a studio space as well as for socializing.

The conservatory, developed from the idea of the greenhouse, necessitated a reliable solution to work with the change of season in terms of heat and light see plate 7.

Plate 7 Inside view of the GH Conservatory Although Gassehaven was built in the very end of the so called modernist era and in the old fashioned building style of brick work, residual modernist ideas such as oppositional elements seem to have governed the choice of building materials as well as having influenced the overall concept and layout of the building.

Uncanny matters: Kafka’s burrow, the unhomely and the study of organizational space

The most obvious example is the division of the house into one half made of glass, and one made entirely of brick, the transparent and the opaque. Another opposition is the upstairs and downstairs, parents belonging to the more secluded upstairs and their progeny occupying the downstairs, connected only by a staircase made in neutral solid wood.

This architectonic experiment, beautifully constructed and intellectually stimulating, praises the simplicity of duality and binary functionality. He also defines it as aggressive, a white that repels everything inferior to it, a white that functions as bleach on its surroundings, a color that dissolves everything within it.

An environment, which in one way enforced order and simplicity; but which also innately functioned as a blank canvas on which urges arose to obscure this whiteness, to paint it over, to create something other No homeliness without uncanny sensations, a reader might think; no organizational space without cracks, leaks and hauntings.

The Freudian uncanny and the ghostly The notion of the uncanny has a rich and heterogeneous genealogy Masschelein, In 20thcentury thought, it was developed and mobilized to think specifically modern anxieties and to ponder questions of estrangement, alienation, exile and literal and metaphorical homelessness Vidler, ; Jay, It thus appears to be an all-purpose nostrum — a meta-theory — that can be brought to bear on all kinds of phenomena.

The destabilizing force of the uncanny is echoed in its etymology. The uncanny thus denotes a peculiar knot of the familiar and the unfamiliar. It designates the strangely familiar, the familiar becoming defamiliarized, in its two senses: something familiar emerges in an unfamiliar context, and something unfamiliar emerges in a familiar context. The uncanny thus involves feelings of uncertainty and apprehension and a crisis or critical disturbance of the proper, of the boundaries of inside and outside.

Collecting and discussing examples of uncanny experiences, Freud mainly drew upon literary works, [5] such as E. The uncanny appears in various disguises: as more gruesome or terrible defamiliarizations linked to death and corpses e. As the range of phenomena indicates, Freud struggled to contain the notion of the uncanny. His introduction of a distinction between reality and fiction seems odd, strangely disavowing literary examples after having made good use of them.

Its significance, that is, also pertains to the world of organization. In architectural theory, mainly the work of Anthony Vidler , , physical spaces as well as spatial thought are shown to be invested with the unhomely.

293090727-The-Architectural-Uncanny-Anthony-Vidler (1).pdf

That uncanny sensations are perhaps invariably and irreducibly spatial is not only indicated by the etymology of the unhomely but also by its genealogy.

In fact, the uncanny has been related to the spatial imagination at least since the end of the 18thcentury Vidler, ix. According to Vidler, two trajectories are particularly pertinent here. Not surprisingly, also for Freud the haunted house is one of the most striking examples for the uncanny. Second, the labyrinthine spaces of the modern city have been re-imagined as hotbeds of anxieties such as epidemics, revolutions, phobias and urban estrangement.

Feelings of the uncanny are closely related to the organization of physical space: to the house or the burrow that does and does not afford security, to the city once intimated and walled, then a breeding place for unsettling encounters. Yet, what is clear is that the haunting and the dread co-originate with the building and its architecture of control and security.

Significantly, Vidler argues that these feelings of dread arose together with the enlightenment project of transparent and hygienic spaces of social progress. Modernism is said to have been infatuated with transparency and lightness — both in its technologically instrumentalist, optimistic visions and in its critical unmasking of structures of domination in order to enable progress and emancipation.

The uncanny therefore refers not so much to darkness itself if there is such a thing but to the interplay between darkness and lightness, to the process of bringing to light that which was hidden. It confronts the longing for a home and the desire for domestic security with its apparent counterpart, namely intellectual and literal homelessness, while simultaneously foregrounding the complicity between both Vidler, Defamiliarizing organizational space The notion of the architectural uncanny opens up a more complex frame of reference for the study of organizational space.

It presents the physical spaces of organization as affectively and atmospherically charged forces or media of organizing Martin, The turn towards the ghostly in the form of the spatial uncanny therefore has quite radical implications for thinking and researching organizational spatialities.

In the past years, a substantial body of work on organizational space has appeared Weinfurtner and Seidl, Perhaps most notably, this approach enables studying the spatial materializations of power relations in organizations and their consequences e.

Yet this spatial awareness is usually clad in the modernist dualism of spatial structures of domination, which bear down on organizational members, and a counterforce of what one could call spatial emancipation.

What resurfaces in such analyses is perhaps a sense of nostalgia that pervades the renaissance of space as analytical category. Here, a comforting narrative of spatial means and ends emerges. Yet this narrative and its assumptions are haunted in a double sense: haunted by homely distinctions such as positive and negative power and clear-cut spatial categories; and haunted by the uncanniness of space, which unsettles these distinctions and categories Wigley, Moreover, they turned this notion into an important category of interpreting modern anxiety, of reflecting upon questions of estrangement, alienation, exile, homelessness and haunting.

The uncanny therefore involves feelings of uncertainty and apprehension and a crisis of the boundaries of inside and outside — an unsettling of time and space. The architectural imagination of organization theory is thus expanded towards a more complex spatial agency. Exploring organizational spatialities therefore calls for less certainty and more openness towards invisibilities and spectres, towards the familiar made strange and the strange made familiar.

It calls for a scholarly attunement to unsettling and disturbing effects and affects of built materialities. In this sense, the study of organizational space needs to embark on voyages into the ghostly and haunted character of organized life.

Empirically, a world of potential research sites presents itself to the organizational scholar. An uncanny organizational analysis would need to defamiliarize the exchangeability of a corporate architecture often colloquially deemed soulless, of corporate lobbies and open space offices.

It would explore new sites of organizing as they emerge through networked technologies and their uncanny doublings of time and space. Through addressing and conceptualizing the uncanny overflow of such and other sites, it would bring space back in, again. The stranger is strangely familiar, indeed.

As Simmel et seqq. It has no certain boundaries, but it blinks and sparkles behind the proper names of Marx, Freud, and Heidegger: Heidegger who misjudged Freud who misjudged Marx.

Planning and urban management discourses are, and always have been, saturated with fear. The history of planning could be rewritten as the attempt to manage fear in the city Cambridge: Polity. Benjamin, W. Arendt ed.

Illuminations: Essays and reflections, trans. New York: Schocken Books.

Beyes, T. Schuller and G.

Related titles

Ortmann eds. Kafka: Organisation, recht und schrift. Cixous, H. Clarke, D. Dale, K. Houndsmills: Palgrave Macmillan. De Cock, C. Derrida, J.

London: Routledge. Dotan, L. Fisher, M. London: Repeater. Foucault, M.Yet this narrative and its assumptions are haunted in a double sense: haunted by homely distinctions such as positive and negative power and clear-cut spatial categories; and haunted by the uncanniness of space, which unsettles these distinctions and categories Wigley, Could this unfulfilled emptiness be replaced by creating a sense of bondage between the child and the surrounding architecture that in turn function as a substitute sense of security disguising the underlying sense of disgust of the Self and the body.

This idea is understood further in 2 Throughout the dissertation I try to distinguish between the psychological subject and the more ordinary use of subject, and of the architectural and human subject.

Cambridge: Polity. But it may simply mean a distinct confusion of the boundaries1 between the two.

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