000			03172cam a2200385 i 4500
001			22848536
003			OSt
005			20241208063050.0
008			221101s2023 enka b 001 0 eng
010			_a 2022052602
020			_a9781032381893 _q(hardback)
020			_a9781032384252 _q(paperback)
020			_z9781003344995 _q(ebook)
040			_aDLC _beng _erda _cDLC _dDLC
042			_apcc
050	0	0	_aNA2500 _b.R65 2023
082	0	0	_a720.1 R65 2023 _223/eng/20221109
100	1		_aRoimpas, Stefanos, _d1989- _eauthor.
245	1	0	_aPerspective as logic : _bpositioning film in architecture / _cStefanos Roimpas.
264		1	_aAbingdon, Oxon : _bRoutledge/Taylor & Francis Group, _c2023.
300			_ax, 199 pages : _billustrations ; _c24 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	0		_aRoutledge research in architecture
504			_aIncludes bibliographical references and index.
520			_a"Perspective as Logic offers an architectural examination of the filmic screen as an ontologically unique element in the discipline's repertoire. The book determines the screen's conditions of possibility by critically asking not what a screen means, but how it can mean anything of architectural significance. Based on this shift of enquiry towards the question of meaning, it introduces Jacques Lacan and Alain Badiou in an unprecedented way to architecture-since they exemplify an analogous shift of perspective towards the question of the subject and the question of being accordingly. The book begins by positing perspective projection as being a logical mapping of space instead of a matter of sight (Alberti & Lacan). Secondly, it discusses the very nature of architecture's view and relation to the topological notion of outside between immediacy and mediation (Diller and Scofidio, The Slow House). It examines the limitation of pictorial illusion and the productive negativity in the suspension of architecture's signified equivalent to language's production of undecidable propositions (Eisenman & Badiou). In addition, the book outlines the difference between the point of view and the vanishing point by introducing two different conceptions of infinity (Michael Webb, Temple Island). Finally, a series of design experiments playfully show how the screen exemplifies architecture's self-reflexive capacity where material and immaterial components are part of the spatial conception to which they refer and produce. This book will be particularly appealing to scholars of architectural theory, especially those interested in the domains of philosophy, psychoanalysis, and the linguistic turn of architecture"-- _cProvided by publisher.
650		0	_aArchitecture _xPhilosophy.
650		0	_aPerspective.
650		0	_aProjection.
776	0	8	_iOnline version: _aRoimpas, Stefanos, 1989- _tPerspective as logic _dAbingdon, Oxon : Routledge, 2023 _z9781003344995 _w(DLC) 2022052603
906			_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg
942			_2ddc _cBK-EN _n0
999			_c7339 _d7339