Abstract
Generally, the machine is characterised as masculine. Would it be possible to represent machines that are much more feminine in nature, that cosset humanity, encourage social interaction, and are not blind to our emotional lives, loves and heartaches? Chair of Architecture and Design at Western Sydney University and co-guest-editor of this AD, Michael Chapman explains some of his recent surreal architectural drawings that explore these notions.
| Original language | English |
|---|---|
| Pages (from-to) | 56-63 |
| Number of pages | 8 |
| Journal | Architectural Design |
| Volume | 94 |
| Issue number | 6 |
| DOIs | |
| Publication status | Published - 1 Nov 2024 |
Bibliographical note
Publisher Copyright:Copyright © 2024 John Wiley & Sons, Ltd.
Keywords
- Alchemy
- Andreas Vesalius
- Australia
- Bercy
- Covid-19 pandemic
- Crying Room project
- Five Large Glasses machine
- France
- Marcel Duchamp
- Newcastle, New South Wales
- Paris
- Pont des Arts
- Saint-Cloud
- Scar
- Seine
- The Large Glass (officially The Bride Stripped Bare by Her Bachelors, Even)
- The Last Kiss
- The Last Kiss machine
- Tony Goldwyn
- Wangi Power Station machine
- ‘A Machine for Loving In’