Phenomenal Transparency

The idea of transparency discussed here is a new way of looking at the overlapping of spaces. The paintings that the artists created show many overlapping styles and images. Many artists, such as Léger, considered these works to be modeled in low relief. Le Corbusier produces similar effects in his architecture, with layered effects and specifically framed views. This goes along with the architectural promenade concept typically discussed with his buildings, as most of these buildings had a preferred view. Paintings of this nature obviously had a preferred view because they demonstrated a specific viewpoint. Many of the Cubist paintings of this nature only had one real reading. While this may be the case in terms of transparency, it is hard to believe that any painting so abstract could only be read in one manner. It seems more likely that there was only one correct interpretation, and anyone with a differing view would be someone that was not educated as to the purpose of the artist. On the one hand, one can argue that anyone viewing art should make a point to understand the theory that it represents. However, there is something to be said of the interpretations of outsiders. They may not be accurate, but they often reveal new ideas as to meanings not initially conceived of by the authors. These viewpoints could be equally as fascinating, though they may not be as relevant to the discussion of transparency.

The Bauhaus Building is presented as an excellent example of these concepts. The description is of a building that does not have a conscious layering effect. This is a strange way to describe the building, as modern images of the design show the layered floors more prominently than nearly any other feature, with the glass facades being the obvious exception. The point of the space was that diagonal views are given priority. This is also a strange concept, but the images available of the space seem to suggest a similar motivation. The spaces and buildings do not seem so much on axis as on diagonal with each other, suggesting that this idea of transparency is plainly visible. In general, most of the seeming discrepancies from the photographs to the building itself are probably the cause of a modern reading of the building. Especially since many photos are overhead views, it is possible that in the experience of the space one would perceive the elements listed. It seems like the minute details being described would be best viewed in person.

Rowe and Slutzky define the concept of simultaneous perceptions as it relates to phenomenal transparency. It seems to make sense that when there is a piece of glass, one always struggles with the idea of whether it is the glass or the item behind the glass that is actually being seen. Transparent objects are a way of creating a barrier without preventing views, which is a concept that seems to defy common sense. This idea is reminiscent of the more modern images of positive and negative space, where one must figure out which object is in the foreground and which is in the background. In the same manner, it is almost impossible to tell which object is the focus. It is clearly understandable how the optical illusion of glass and other transparent materials could be used to create unique architectural effects. Many modernists utilized glass not only to embrace new technology, but also to dematerialize. The Casa del Fascio by Giuseppe Terragni comes to mind as an example. The use of glass in this building is almost excessive, but it allows for the entire building to give a very open feel. In photographs, it is very difficult to tell where one room ends and another begins. This was probably the point. The glass was also symbolic of the openness of the fascist government, but the use of phenomenal transparency in this building radically reshapes the organization of the space.