Abstract
It is impossible not to view the architecture of Classical Greece and Bauhaus, and not know that these are not isolated incidences of design, but purposeful constructions crafted to further the agenda of nature or science. Consider the Gardens of Versailles, manicured and designed as a scientific treatise, juxtaposed against its mirror image in the Palace of Versailles, with its elaborate embossed stone, yielding nothing to the pureness and spontaneity of nature. When we consider the canon of Western art, we cannot ignore that these creations are the establishment and concretization of the perpetual war of humankind with itself in the fight against nature, to ever declare dominion over nature, at other times recognition, and finally fear as nature rises and defends itself as is pursued in Romanticism in J.M.W. Turner’s bold postulations. From the Doric columns insulated in pristine marble to Frank Lloyd Wright’s symbiosis of nature and science in Fallingwater, we are in the midst of an insistent battle. This paper interrogates how designers, architects, and city planners, understood the division of knowledge that truly intersected and informed form in the communication of science and nature for communities and subjects of subjugation or liberation.
Presenters
Nancy Bookhart WellingtonAssistant Professor of Art, Department of Humanities, Paine College, Georgia, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
FALLINGWATER, J.M.W. TURNER, SYMBIOSIS, GARDEN OF VERSAILLES, SCIENCE, SUBJECTIVITY, FORM
