Heidegger Among the Sculptors: Body, Space, and the Art of by Andrew J. Mitchell

By Andrew J. Mitchell

Within the Nineteen Fifties and 60s, Martin Heidegger became to sculpture to reconsider the connection among our bodies and house and the position of artwork in our lives. In his texts at the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery starting for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic thought, a taking into consideration relationality. opposed to a standard view of area as an empty box for discrete our bodies, those writings comprehend the physique as already past itself in an international of family and conceive of area as a fabric medium of relational touch. Sculpture exhibits us how we belong to the realm, an international in the middle of a technological means of uprooting and homelessness. Heidegger indicates how we will nonetheless locate room to live therein. choked with illustrations of works that Heidegger encountered or thought of, Heidegger one of the Sculptors makes a unique contribution to the philosophy of sculpture.

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Simply put, there is a certain joy in designing that shows in their work, in particular when they are dealing with the general public as is certainly the case of the UGC projects. Valode & Pistre are also very comfortable with innovation in terms of redesigning building types from the ground up. Here, they listened to the client, but also imagined that their architecture was part of the spectacle that people come to pay and see. ■ A strong contrast between light and dark characterizes these evening views, as though the act of projection was also being acted out in the public spaces.

Although computer assisted design had not reached its current levels of sophistication when this factory was conceived, computers and laser guided checking were used for the precision placement of 655 different types of panels in the curved roof. The advantage of this system was not only esthetic, but also practical, since it permitted the creation of manufacturing zones measuring 130 by 60 meters with no support columns. The torus form selected by the architects for the curving roof creates spaces that are varied and spatially more interesting than I 36 L’ORÉAL FACTORY The complexity and variety of the nodes necessary to carry the roof structure are witness to the interest of the architect’s in questions related to engineering.

I 31 L’ORÉAL FACTORY Denis Valode’s sketches use the word “petals” to define the roof’s shape, and yet the final design is stylized to the point where the original botanical reference is almost forgotten. They also show that a circle inscribed in a square governs the basic plan of the building. I 32 L’ORÉAL FACTORY The arching lightness of the building is quite visible in the exterior image above, while the pictures and sketch to the right and on the next page demonstrate the architects’ conviction that views toward the exterior are essential to the creation of a positive working atmosphere.

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