49. An Architecture of Alchemy: A Cinematic Painting
- David J. Lieberman (author)
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| Title | 49. An Architecture of Alchemy |
|---|---|
| Subtitle | A Cinematic Painting |
| Contributor | David J. Lieberman (author) |
| DOI | https://doi.org/10.11647/obp.0390.51 |
| Landing page | https://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.51 |
| License | https://creativecommons.org/licenses/by-nc/4.0/ |
| Copyright | David J. Lieberman |
| Publisher | Open Book Publishers |
| Published on | 2024-10-09 |
| Long abstract | In furthering the assertion that architecture is a performing art not a fine art, this work re-interprets the ideas of sieve theory, granular synthesis, and arborescence as strategies of architectural composition, demonstrating the manner in which Iannis Xenakis has established parameters for pushing the boundaries and the understandings of architectures of an extended comprehension of time. Elevations are considered as the threshold and transition between inside and outside, architecture and landscape, in terms of framing of views, choreographing perceptions and movements, in the permeability of a thickened wall manipulating sound and light as palpable materials of spatial containment, interrogating the intended and the unexpected as we move through and occupy the spaces defined by the physical constructs afforded by the intentions of built form. The work, Listening to Architecture is a twenty-two-minute film or cinematic painting. |
| Page range | pp. 733–736 |
| Print length | 4 pages |
| Language | English (Original) |
David J. Lieberman
(author)David J. Lieberman is a University Professor at the Akademie der bildenden Künste Wien, and Associate Professor Emeritus at the University of Toronto. Architect, artist, poet, and filmmaker, David Lieberman identifies as an alchemist asserting that architecture constructs mechanisms by which to transform experience by considering the body as an empathic instrument to apprehend and to understand space. Traditional spatial composition has relied on the surfaces of resistance and reflection; space can be understood as the dissolve, and in the blur of the visual and the aural at the limits of perception and in its tactility. Current work includes explorations of the Austrian Forests: the Birkenwald of Gustav Klimt (1862–1918) and the Jurassic spruce, the wood of choice for the string instruments of Cremona and the soundboards of pianos, as post cinematic expressions with respect for the craft of making and the spatial engagement of dance in pursuit of new architectures.