• Colin Rowe and Robert Slutsky’s transparency has obvious implications for the development of the promenade as it is the interpretation of its different stages that gives it its particular impetus. Rowe and Slutsky make their well-known distinction between “literal” transparency, for example, the ability of a window to allow people to see through it, and “phenomenal” transparency “found when a painter seeks the articulated presentation to frontally aligned objects in a shallow, abstracted space,” using examples of cubist and post-cubist pairing to illustrate their argument. The work of Le Corbusier is compared even though phenomenal transparency is far more difficult to achieve and still more to discuss in architecture that in painting. despite this Rowe and Slutsky identify a series of vertical planes working across the depth of the facades of the villa Stein de Monzie at Garches, a stratification that is continued internally.
Posted by:Liyang DING

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