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Walls Have Feelings: Architecture, Film and the City (Paperback)

by Katherine Shonfield (Author) "It is hardly possible to overdramatise the effects that the wholesale adoption of the Brutalist style - with its trademark bleak, uncovered, grey concrete -..." (more)

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Product details

Paperback: 216 pages
Publisher: Routledge; 1 edition (23 Nov 2000)
Language English
ISBN-10: 0415235421
ISBN-13: 978-0415235426
Product Dimensions: 23 x 15.6 x 1.4 cm

Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)

Amazon.co.uk Sales Rank: 319,310 in Books (See Bestsellers in Books)

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Product Description

Review
'Shonfield is an exemplary close-reader, functioning very well as literary, film and architecture critic ... The book comes highly recommended.' - Building Design

Product Description
This book uniquely brings to bear questions of urgent cultural relevance on critical design decisions. As such, it is of as much importance to architects, planners and students of design, as to students of cultural history, geography and film.

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Inside This Book (Learn More)

First Sentence
It is hardly possible to overdramatise the effects that the wholesale adoption of the Brutalist style - with its trademark bleak, uncovered, grey concrete - has had on the landscape of London. Read the first page

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Front Cover | Copyright | Table of Contents | Excerpt | Index

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	58% buy the item featured on this page: Walls Have Feelings: Architecture, Film and the City 5.0 out of 5 stars (1) �28.99
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3 of 3 people found the following review helpful:

5.0 out of 5 stars The secret life of the city in film, 13 Feb 2001

By A Customer

Architectural and artistic practitioner Shonfield ploughs a fertile furrow in this far-reaching discussion of the construction of twentieth century urban space, and its representation in film. Drawing heavily on European cultural theorists of the 'everyday', Walter Benjamin and Henri Lefebvre, she explores a similar space to the filmmaker Patrick Keiller (London, Robinson in Space), using narrative film and fiction as a means of breaking down the implicit specialisms of architecture and urban planning and asking what the alternatives are to flats that leak and urban planning that separates the city-dweller from the city.

She begins with an analysis of post-war brutalist architecture, which elevated structural transparency to the moral authority of 'honestly' representing society, and as a consequence produced bland, dehumanised interiors and the tragically flimsy Ronan Point tower block. Roman Polanski's two films of interior horror, Repulsion and Rosemary's Baby are then used to discuss what happens when the apparently inviolable walls of modern apartment blocks are ruptured and disintegrate, allowing the outside to invade the inside world.

Moving from the home to the street, Julie Christie in Darling and Michael Caine in Alfie are presented as mirror images: the male/female flaneur, operating in the public space of the streets between the commodified interior of the home and the refeminised interior of the executive boardroom. In Jean-Luc Godard's One or Two Things that I Know About Her, the prostitute-housewife Jeanette is a victim of the same violence done to Paris by the construction of the P�riph�rique, the ringroad arbitrarily dividing the city; she is 'at one and the same time the whole of France... forced to live in the wrecked constituents of her own formerly coherent body'

Shonfield uses Marxist and structuralist theory to examine both how capitalism reinforces the division of labour with the spatial division between work and home, and how 'pollution taboos' operate to eliminate the viscosity that denies such separation. But the real power of Walls Have Feelings is its use of film as a temporary revelation, a medium that offers sudden and perplexing insights into the way that our houses are built and our cities manufactured.

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