Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de Berlin

In the Dutch Embassy in Berlin, constructed by OMA/Rem Koolhaas in 2003, open corridors indicate several buildings of the city (TV tower, Altes Stadthaus, a National Socialist building) and several elements of the natural landscape, such as the Spree River, in a montage of architectural framings. Th...

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Main Author: Laurence Kimmel
Format: Article
Language:fra
Published: MSH Paris Nord
Series:Appareil
Subjects:
Online Access:https://journals.openedition.org/appareil/1395
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author Laurence Kimmel
author_facet Laurence Kimmel
author_sort Laurence Kimmel
collection DOAJ
description In the Dutch Embassy in Berlin, constructed by OMA/Rem Koolhaas in 2003, open corridors indicate several buildings of the city (TV tower, Altes Stadthaus, a National Socialist building) and several elements of the natural landscape, such as the Spree River, in a montage of architectural framings. Through this montage, the visitor sees fragments of the city that are more or less recognizable. Fragments are not romantic ones; they are more like Walter Benjamin’s fragments of the city of Berlin that sought to be in a constellation of singularities in order to produce some sort of sense. Koolhaas’s architectural promenade is trying to produce that sense through continuity in the experience of the visitor. Like Aby Warburg’s images in the process of writing art history, the successful use of these images can give the viewer a sense of the history of Berlin.
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spelling doaj.art-86dddae61eba404386e4ef987d42488a2024-02-14T16:29:28ZfraMSH Paris NordAppareil2101-07141510.4000/appareil.1395Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de BerlinLaurence KimmelIn the Dutch Embassy in Berlin, constructed by OMA/Rem Koolhaas in 2003, open corridors indicate several buildings of the city (TV tower, Altes Stadthaus, a National Socialist building) and several elements of the natural landscape, such as the Spree River, in a montage of architectural framings. Through this montage, the visitor sees fragments of the city that are more or less recognizable. Fragments are not romantic ones; they are more like Walter Benjamin’s fragments of the city of Berlin that sought to be in a constellation of singularities in order to produce some sort of sense. Koolhaas’s architectural promenade is trying to produce that sense through continuity in the experience of the visitor. Like Aby Warburg’s images in the process of writing art history, the successful use of these images can give the viewer a sense of the history of Berlin.https://journals.openedition.org/appareil/1395montagearchitecturehistoireBerlinconstruction
spellingShingle Laurence Kimmel
Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de Berlin
Appareil
montage
architecture
histoire
Berlin
construction
title Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de Berlin
title_full Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de Berlin
title_fullStr Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de Berlin
title_full_unstemmed Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de Berlin
title_short Un bâtiment comme appareil de vision d’une multiplicité d’images-fragments du paysage et de l’histoire de Berlin
title_sort un batiment comme appareil de vision d une multiplicite d images fragments du paysage et de l histoire de berlin
topic montage
architecture
histoire
Berlin
construction
url https://journals.openedition.org/appareil/1395
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