[PDF] Architecture And Geometry In The Age Of The Baroque eBook
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Author : George L. Hersey Publisher : University of Chicago Press Page : 284 pages File Size : 37,48 MB Release : 2001-03 Category : Architecture ISBN : 0226327833
"The baroque style of architecture rose up from the Mannerism of the turn of the seventeenth century, and evolved into the lighter rococo around 1750. At its height, the baroque encompassed all the arts, and the style was freighted with the message of the Counter-Reformation." "This catalogue explores every facet of baroque architecture in Europe. An international team of scholars examines such subjects as the political and religious use of architecture, the birth of the baroque in Rome, landscape, fantasies, and the education of the architect. The second part of the book, a catalogue of works exhibited, illustrates the types of baroque construction: villas and chateaux, military architecture, royal palaces, and gardens."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Reclaiming the humanistic role of architecture in the age of technology: an examination of architecture's indispensable role as a cultural force throughout history.
Sir Kenneth Clark wrote in the Architectural Review, that the first result of this book was "to dispose, once and for all, of the hedonist, or purely aesthetic, theory of Renaissance architecture, ' and this defines Wittkower's intention in a nutshell.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
Previously published as pt. 1 of The Europe of the capitals 1600-1700, 1964. Color and bandw illustrations with text present the visual arts as well as the architecture of this age. Annotation copyrighted by Book News, Inc., Portland, OR
The church of San Carlo alle Quattro Fontane, also called San Carlino, is an architectural artefact that continues to attract numerous hypotheses and geometric analyses attempting to explain its form and meaning. Numerous investigations have attempted to reveal its underlying geometrical principles, without, however, reaching a consensus. Finding San Carlino presents an edited collection of perspectives on Borromini’s famous Baroque church from a range of established and emerging scholars in architectural history and theory, including Werner Oechslin, Karsten Harries, Michael Hill and Lauren Jacobi amongst others. This book offers the reader different means of engaging with, enjoying and articulating San Carlino’s complexity, non-consensus and ambiguity. It is precisely such a unique disposition that motivates this book to explore multiple modes of architectural enquiry and delve into a series of theoretical and historiographical questions such as: why was Borromini not able to post-rationalize his architecture with his drawings? What is San Carlino’s exemplary value, and why does it continually engender exegetical and hermeneutic desire? What is the role of geometry in architecture, in history and today? Written for researchers, scholars and postgraduate students in architectural history and theory, the book uses San Carlino as an enigmatic centering point for a set of significant contemporary voices to explore new modes of confrontation and comparison.
Now We See Now chronicles the projects and findings of a firm that is charting bold new directions in generative design and other intersections of science and architecture. In the context of massive and accelerating change--in technology, science, climate, and society--the nature of architectural design is also evolving and coming to life in new ways. New York-based office The Living has developed a unique design approach that explores projects through the application of new technologies, materials, and the growing field of generative design (design that uses software to emulate nature's evolutionary processes). These methods are futuristic, even utopian, but also raw and immediate in their application of hands-on prototyping and testing through making. The Living addresses urgent issues through reframing design with today's tools. David Benjamin, founding principal of The Living, explains his methodologies through numerous projects and abundant research that are making real inroads to what is increasingly known as generative design. Benjamin executes numerous projects that demonstrate these surprising techniques, including the Princeton Embodied Computation Lab, a new building for research on next-generation design and construction technologies; Hy-Fi, a branching tower for MoMA PS1 made of a new type of biodegradable brick; and using principles of adaptive networks to prototype new structural dividers for Airbus that are nearly 50% lighter than traditional ones. Now We See Now documents this emerging body of work and points to new directions for an evolving discipline, surveying projects at a variety of scales for a variety for clients. For an era where rapid change is the norm, The Living demonstrates how future design practices can embrace uncertainty and generate surprising solutions to tomorrow's challenges.
This is the first study of Renaissance architecture as an immersive, multisensory experience that combines historical analysis with the evidence of first-hand accounts. Questioning the universalizing claims of contemporary architectural phenomenologists, David Karmon emphasizes the infinite variety of meanings produced through human interactions with the built environment. His book draws upon the close study of literary and visual sources to prove that early modern audiences paid sustained attention to the multisensory experience of the buildings and cities in which they lived. Through reconstructing the Renaissance understanding of the senses, we can better gauge how constant interaction with the built environment shaped daily practices and contributed to new forms of understanding. Architecture and the Senses in the Italian Renaissance offers a stimulating new approach to the study of Renaissance architecture and urbanism as a kind of 'experiential trigger' that shaped ways of both thinking and being in the world.