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Summary:
Although patents existed in Renaissance Italy and even in Confucian thought, it was not until the middle third of the nineteenth century that architects embraced the practice of patenting in significant numbers. Patents could ensure, as they did for architects' engineering brethren, the economic and cultural benefits afforded by exclusive intellectual property rights. But(...)
Prior art: Patents and the nature of invention in architecture
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Although patents existed in Renaissance Italy and even in Confucian thought, it was not until the middle third of the nineteenth century that architects embraced the practice of patenting in significant numbers. Patents could ensure, as they did for architects' engineering brethren, the economic and cultural benefits afforded by exclusive intellectual property rights. But patent culture was never directly translatable to the field of architecture, which tended to negotiate issues of technological innovation in the context of the more abstract issues of artistic influence and formal expression. In "Prior art," scholar Peter Christensen offers the first full-scale monographic treatment of this complex relationship between art and invention.
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May 2024
Architectural Theory
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This volume explores the quintessentially modernist material that is steel—not for the heroic structural innovations it facilitated but for a deeper understanding of the role it played in the steady change of the earth. Focusing on the formative years of the architectural steel economy and on the corporate history of German steel titans Krupp and Thyssen, the author(...)
Precious metal: German steel, modernity, and ecology
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This volume explores the quintessentially modernist material that is steel—not for the heroic structural innovations it facilitated but for a deeper understanding of the role it played in the steady change of the earth. Focusing on the formative years of the architectural steel economy and on the corporate history of German steel titans Krupp and Thyssen, the author investigates the ecological interrelationship of artificial and natural habitats, mediated by steel. He traces steel through six distinct phases: birth, formation, display, dispersal, construction, and return. By following the life of steel from the collection of raw minerals to the distribution and disposal of finished products, Christensen challenges the traditional narrative that steel was simply the primary material responsible for architectural modernism.
Materials and Lighting