Repetition and Difference: Lefebvre, Le Corbusier and Modernity's (Im)moral Landscape

Smith, Mick

doi:10.1080/13668790123378

Cited by 16 publications

(11 citation statements)

References 12 publications

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“…Not only does the architecture shape how visitors experience this or that exhibition, so too does the surrounding sociality, alongside the personal motivations for going (Hornecker and Ciolfi, 2019). Space is not just an empty container that we simply inhabit but instead a social product rooted in shared values and socially produced meanings (de Certeau, 1984; Lefebvre, 1991 [1974]); space is modified through continued use, with ascribed meanings changing over time as a consequence of interrelations and interactions (Massey, 2005; Smith, 2001: 36). The art museum, then, is very much a lived space in which social actions, often dependent on social norms, can alter and modify the phenomenological experience.…”

Section: The Spatial and Social Norms Of Art Museummentioning

confidence: 99%

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

Parker

Saker

2020

Convergence

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Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space.

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Section: The Spatial and Social Norms Of Art Museummentioning

confidence: 99%

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

Parker

Saker

2020

Convergence

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“…Despite these shortcomings, several feminist geographers have made use of Lefebvre’s work to think about categories of social difference, particularly gender and sexuality (Friedman and van Ingen, 2011; McLeod, 1997; Massey, 1994; Ross, 1996). Additionally, Lefebvre’s work on difference has been applied to issues of urban multiculturalism (Goonewardena and Kipfer, 2005), while others have looked to it for a “incipient ‘difference ethics’” to critically examine the homogenization of urban space (Smith, 2001).…”

Section: Approaching a Phenomenological Reading Of Lefebvrementioning

confidence: 99%

Re-encountering Lefebvre: Toward a critical phenomenology of social space

Kinkaid

2019

Environ Plan D

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In this article, I present a critical phenomenological reworking of Lefebvre’s theory of social space from the perspective of minority subjects. To do so, I identify phenomenological themes present in The Production of Space, reading it alongside Merleau-Ponty’s Phenomenology of Perception. This reading emphasizes Lefebvre and Merleau-Ponty’s shared critiques of space, their relational ontologies, and their emphasis on bodily practice. With these shared concerns in view, I then extend this phenomenological reading of Production by bringing it into conversation with scholarship in critical phenomenology. Critical phenomenology has developed largely out of the work of Merleau-Ponty and seeks to revise classical phenomenological accounts to attend to issues of race, gender, sexuality, disability, and other categories of social difference. I demonstrate how critical phenomenology can be brought to bear on Lefebvre’s account of social space and the subject, considering how it can concretize and actualize the political potential Lefebvre attaches to differential embodiment in Production. Bringing these perspectives to bear on Lefebvre’s conception, I argue, does important work to actualize his vision of differential embodiment as a political and spatial practice.

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“…152,153,154,155 Much of this disparity is linked to the creation and reproduction of what Le Febvre, in critiquing the work of Le Corbusier, calls abstract and "repetitively patterned space [that] consumes and regulates the differences between places and people." 156 Environmental ethicist Mick Smith further refers to such architectural spaces as "anti-social and instrumental . .…”

Section: South African Apartheidmentioning

confidence: 99%

Racialized Architectural Space: A Critical Understanding of its Production, Perception and Evaluation

Brown

2019

Architecture_MPS

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Academic inquiry into the concept of space as racialized can be traced back to at least as far as the turn of the twentieth century with sociologist W. E. B. Dubois’ promulgation of the “color-line” theory. More recently, numerous postmodern scholars from a variety of fields have elucidated the various ways in which physical space (i.e., the built environment), as a social product, embodies racialized ideologies exhibited and reproduced by segregation, economics and other social practices. The dialogue on race and space has primarily been limited to the urban scales of city, neighborhood, community and street. Socio-spatial research that centers around race rarely addresses this phenomenon at the scale of architecture – the individual building or a particular development. Such a failure to critically examine the role of the architectural product in the creation and reproduction of socio-spatial and socio-racial inequality yields the field of architectural practice exempt and blameless in its tangible contribution to the psychosocial and geospatial marginalization of communities of color, as in, for example, the case of gentrification. This paper attempts to illustrate the fact that architecture, like all of the built physical environment, is not ahistorical, apolitical – and certainly not race neutral – but, as a social product, is also understood clearly within these contexts, and its psychological and social impacts and outcomes must be examined with a racially critical lens, particularly in heterogeneous urban communities.

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Repetition and Difference: Lefebvre, Le Corbusier and Modernity's (Im)moral Landscape

Cited by 16 publications

References 12 publications

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

Re-encountering Lefebvre: Toward a critical phenomenology of social space

Racialized Architectural Space: A Critical Understanding of its Production, Perception and Evaluation

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