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In this volume, twenty scholars explore the work of two of the twentieth century’s greatest architectural historians: the American Henry-Russell Hitchcock (1903–1987) and the Englishman Sir John Summerson (1904–1992). Both men undertook architectural training and became key polemical figures in the establishment of Modernism in the 1930s. After the war, and especially in(...)
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In this volume, twenty scholars explore the work of two of the twentieth century’s greatest architectural historians: the American Henry-Russell Hitchcock (1903–1987) and the Englishman Sir John Summerson (1904–1992). Both men undertook architectural training and became key polemical figures in the establishment of Modernism in the 1930s. After the war, and especially in(...)
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Summersopn and Hitchcock : centenary essays on architectural historiography
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In this volume, twenty scholars explore the work of two of the twentieth century’s greatest architectural historians: the American Henry-Russell Hitchcock (1903–1987) and the Englishman Sir John Summerson (1904–1992). Both men undertook architectural training and became key polemical figures in the establishment of Modernism in the 1930s. After the war, and especially in the 1950s, both turned more exclusively to historical research and writing. While their areas of interest overlapped, their approaches greatly differed. The contributors to the book investigate the work and methodologies of Summerson and Hitchcock, from their interests in the Northern European (as opposed to Italian) Renaissance, through their studies of the nineteenth century as a precursor to their own times, to their involvement in contemporary issues of design and conservation. The book enhances our understanding of the influences that shaped these two important figures and of the place of architecture within the social and cultural environment.
Summersopn and Hitchcock : centenary essays on architectural historiography
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Summary:
In this volume, twenty scholars explore the work of two of the twentieth century’s greatest architectural historians: the American Henry-Russell Hitchcock (1903–1987) and the Englishman Sir John Summerson (1904–1992). Both men undertook architectural training and became key polemical figures in the establishment of Modernism in the 1930s. After the war, and especially in the 1950s, both turned more exclusively to historical research and writing. While their areas of interest overlapped, their approaches greatly differed. The contributors to the book investigate the work and methodologies of Summerson and Hitchcock, from their interests in the Northern European (as opposed to Italian) Renaissance, through their studies of the nineteenth century as a precursor to their own times, to their involvement in contemporary issues of design and conservation. The book enhances our understanding of the influences that shaped these two important figures and of the place of architecture within the social and cultural environment.
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books
books
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January 2006, New Haven, London
January 2006, New Haven, London
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Architectural Theory
Architectural Theory
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After September 11, Smith asserts, late modern architecture suddenly seemed an indulgence. With close readings of key buildings - including Jørn Utzon’s Sydney Opera House, Minoru Yamasaki’s World Trade Center, Frank Gehry’s Guggenheim Museum Bilbao, and Richard Meier’s Getty Center - Smith traces the growth of the architecture of modernity and then charts its aftermath(...)
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After September 11, Smith asserts, late modern architecture suddenly seemed an indulgence. With close readings of key buildings - including Jørn Utzon’s Sydney Opera House, Minoru Yamasaki’s World Trade Center, Frank Gehry’s Guggenheim Museum Bilbao, and Richard Meier’s Getty Center - Smith traces the growth of the architecture of modernity and then charts its aftermath(...)
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The architecture of aftermath
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After September 11, Smith asserts, late modern architecture suddenly seemed an indulgence. With close readings of key buildings - including Jørn Utzon’s Sydney Opera House, Minoru Yamasaki’s World Trade Center, Frank Gehry’s Guggenheim Museum Bilbao, and Richard Meier’s Getty Center - Smith traces the growth of the architecture of modernity and then charts its aftermath in the conditions of contemporaneity. Smith focuses on the very culture of aftermath itself, exploring how global politics, clashing cultures, and symbolic warfare have changed the way we experience destination architecture. Like other artists everywhere, architects are responding to the idea of aftermath by questioning the viability of their forms and the validity of their purposes.
The architecture of aftermath
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After September 11, Smith asserts, late modern architecture suddenly seemed an indulgence. With close readings of key buildings - including Jørn Utzon’s Sydney Opera House, Minoru Yamasaki’s World Trade Center, Frank Gehry’s Guggenheim Museum Bilbao, and Richard Meier’s Getty Center - Smith traces the growth of the architecture of modernity and then charts its aftermath in the conditions of contemporaneity. Smith focuses on the very culture of aftermath itself, exploring how global politics, clashing cultures, and symbolic warfare have changed the way we experience destination architecture. Like other artists everywhere, architects are responding to the idea of aftermath by questioning the viability of their forms and the validity of their purposes.
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books
books
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January 2006, Chicago
January 2006, Chicago
Subject:
Architectural Theory
Architectural Theory
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As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the(...)
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As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the(...)
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The virtual window : from Alberti to Microsoft
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As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective--Alberti's metaphorical window--has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple "windows" coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
The virtual window : from Alberti to Microsoft
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As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective--Alberti's metaphorical window--has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple "windows" coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
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books
books
Publication:
January 2006, Cambridge
January 2006, Cambridge
Subject:
Architectural Theory
Architectural Theory
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books
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Title:
Camouflage
Camouflage
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The desire for camouflage is a desire to feel connected--to find our place in the world and to feel at home. In Camouflage Neil Leach analyzes this desire and its consequences for architectural concerns. Design, Leach argues, can aid the process of assimilation we go through when we adapt to our surroundings. Design can provide a form of connectivity--a mediation between(...)
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The desire for camouflage is a desire to feel connected--to find our place in the world and to feel at home. In Camouflage Neil Leach analyzes this desire and its consequences for architectural concerns. Design, Leach argues, can aid the process of assimilation we go through when we adapt to our surroundings. Design can provide a form of connectivity--a mediation between(...)
Title:
Camouflage
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The desire for camouflage is a desire to feel connected--to find our place in the world and to feel at home. In Camouflage Neil Leach analyzes this desire and its consequences for architectural concerns. Design, Leach argues, can aid the process of assimilation we go through when we adapt to our surroundings. Design can provide a form of connectivity--a mediation between us and our environment--and it can contribute to a sense of belonging. Architecture, and indeed all forms of design and creativity--fashion, art, cinema, and others--can be an effective realm for forging a sense of belonging and establishing an identity. Camouflage offers a range of overlapping and intersecting theoretical perspectives--from an overview of psychoanalytic insights to an account of the magical properties of architectural models--that together suggest a way to rethink our relationship to the world and the role that design plays in that relationship.
Camouflage
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The desire for camouflage is a desire to feel connected--to find our place in the world and to feel at home. In Camouflage Neil Leach analyzes this desire and its consequences for architectural concerns. Design, Leach argues, can aid the process of assimilation we go through when we adapt to our surroundings. Design can provide a form of connectivity--a mediation between us and our environment--and it can contribute to a sense of belonging. Architecture, and indeed all forms of design and creativity--fashion, art, cinema, and others--can be an effective realm for forging a sense of belonging and establishing an identity. Camouflage offers a range of overlapping and intersecting theoretical perspectives--from an overview of psychoanalytic insights to an account of the magical properties of architectural models--that together suggest a way to rethink our relationship to the world and the role that design plays in that relationship.
Form:
books
books
Publication:
June 2006, Cambridge
June 2006, Cambridge
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$48.00
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Summary:
The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past(...)
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Summary:
The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
January 2006, Cambridge, Mass.
January 2006, Cambridge, Mass.
Title:
Built upon love : architectural longing after ethics and aesthetics
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The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell- one that lovingly provides a sense of order resonant with our dreams. In "Built upon love" Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics - between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia - the love of friends that entails mutual responsibility among equals - and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.
Built upon love : architectural longing after ethics and aesthetics
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Summary:
The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell- one that lovingly provides a sense of order resonant with our dreams. In "Built upon love" Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics - between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia - the love of friends that entails mutual responsibility among equals - and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.
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books
books
Publication:
January 2006, Cambridge, Mass.
January 2006, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$22.95
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Walter Benjamin n'a jamais cru que pratiquer la "critique de l'art" dispensât d'être philosophe. Au contraire, la critique n'a d'autre lieu que la philosophie sous sa forme la plus épurée. Les diverses contributions de ce recueil donne une image très cohérente et homogène de la personnalité et de la pensée de Benjamin.
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Walter Benjamin n'a jamais cru que pratiquer la "critique de l'art" dispensât d'être philosophe. Au contraire, la critique n'a d'autre lieu que la philosophie sous sa forme la plus épurée. Les diverses contributions de ce recueil donne une image très cohérente et homogène de la personnalité et de la pensée de Benjamin.
Title:
Walter Benjamin : critique philosophique de l'art
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Walter Benjamin n'a jamais cru que pratiquer la "critique de l'art" dispensât d'être philosophe. Au contraire, la critique n'a d'autre lieu que la philosophie sous sa forme la plus épurée. Les diverses contributions de ce recueil donne une image très cohérente et homogène de la personnalité et de la pensée de Benjamin.
Walter Benjamin : critique philosophique de l'art
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Walter Benjamin n'a jamais cru que pratiquer la "critique de l'art" dispensât d'être philosophe. Au contraire, la critique n'a d'autre lieu que la philosophie sous sa forme la plus épurée. Les diverses contributions de ce recueil donne une image très cohérente et homogène de la personnalité et de la pensée de Benjamin.
Form:
books
books
Publication:
January 2006, Paris
January 2006, Paris
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$18.95
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This book examines the inherent mysticism common to architecture around the world. The author, a leader in the Arts and Crafts Movement, explores the intentions behind structure and form. In so doing, he reveals the esoteric principles behind such grand buildings as St. Paul’s Cathedral, the Taj Mahal, and the Palace of Versailles. Originally published in 1892, this was(...)
$18.95
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This book examines the inherent mysticism common to architecture around the world. The author, a leader in the Arts and Crafts Movement, explores the intentions behind structure and form. In so doing, he reveals the esoteric principles behind such grand buildings as St. Paul’s Cathedral, the Taj Mahal, and the Palace of Versailles. Originally published in 1892, this was(...)
Title:
Architecture mysticism and myth
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This book examines the inherent mysticism common to architecture around the world. The author, a leader in the Arts and Crafts Movement, explores the intentions behind structure and form. In so doing, he reveals the esoteric principles behind such grand buildings as St. Paul’s Cathedral, the Taj Mahal, and the Palace of Versailles. Originally published in 1892, this was among the earliest studies of the correlation of mysticism and the design process. Its examination of customs, myths, and folktales of many civilizations demonstrates that buildings reflect secrets that lie deeply embedded in the human psyche, related to ancient and universal symbolism. 30 black-and-white illustrations.
Architecture mysticism and myth
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This book examines the inherent mysticism common to architecture around the world. The author, a leader in the Arts and Crafts Movement, explores the intentions behind structure and form. In so doing, he reveals the esoteric principles behind such grand buildings as St. Paul’s Cathedral, the Taj Mahal, and the Palace of Versailles. Originally published in 1892, this was among the earliest studies of the correlation of mysticism and the design process. Its examination of customs, myths, and folktales of many civilizations demonstrates that buildings reflect secrets that lie deeply embedded in the human psyche, related to ancient and universal symbolism. 30 black-and-white illustrations.
Form:
books
books
Publication:
March 2004, Mineola
March 2004, Mineola
Subject:
Architectural Theory
Architectural Theory
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books
books
Title:
Dessin / chantier
Dessin / chantier
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La figure de l'architecte issue de la Renaissance repose sur la séparation du savoir et du faire, de l'artisanat et de l’art mais dans le même temps apparaissent les indices d’une rupture profonde inaugurée par le capitalisme naissant. Dépassant les catégories habituelles, "Dessin/chantier" cherche à analyser comment se produit la valeur dans un monde dominé par la(...)
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La figure de l'architecte issue de la Renaissance repose sur la séparation du savoir et du faire, de l'artisanat et de l’art mais dans le même temps apparaissent les indices d’une rupture profonde inaugurée par le capitalisme naissant. Dépassant les catégories habituelles, "Dessin/chantier" cherche à analyser comment se produit la valeur dans un monde dominé par la(...)
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Dessin / chantier
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La figure de l'architecte issue de la Renaissance repose sur la séparation du savoir et du faire, de l'artisanat et de l’art mais dans le même temps apparaissent les indices d’une rupture profonde inaugurée par le capitalisme naissant. Dépassant les catégories habituelles, "Dessin/chantier" cherche à analyser comment se produit la valeur dans un monde dominé par la marchandise. Le propos tranche par son approche idéologique à l’opposé du libéralisme actuel. L’auteur est marqué par les luttes des années 60 au Brésil, par la violence faite aux ouvriers bâtissant Brasilia. Alors le voici parti à la recherche d’une autre pratique de l’architecture et de son édification, une pratique heureuse passant par un changement radical des rapports de production. Avant-propos de Vincent Michel.
Dessin / chantier
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La figure de l'architecte issue de la Renaissance repose sur la séparation du savoir et du faire, de l'artisanat et de l’art mais dans le même temps apparaissent les indices d’une rupture profonde inaugurée par le capitalisme naissant. Dépassant les catégories habituelles, "Dessin/chantier" cherche à analyser comment se produit la valeur dans un monde dominé par la marchandise. Le propos tranche par son approche idéologique à l’opposé du libéralisme actuel. L’auteur est marqué par les luttes des années 60 au Brésil, par la violence faite aux ouvriers bâtissant Brasilia. Alors le voici parti à la recherche d’une autre pratique de l’architecture et de son édification, une pratique heureuse passant par un changement radical des rapports de production. Avant-propos de Vincent Michel.
Form:
books
books
Publication:
November 2005, Paris
November 2005, Paris
Subject:
Architectural Theory
Architectural Theory
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books
books
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$40.50
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S'appuyant sur l'expérience professionnelle issue d'une triple carrière simultanée d'architecte, d'urbaniste et d'ingénieur-conseil en génie civil, l'auteur investigue les étapes et composantes tant rationnelles que subjectives de la création architecturale, en mettant en évidence les modalités de la complémentarité indissociable entre ces deux démarches. Il apporte(...)
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S'appuyant sur l'expérience professionnelle issue d'une triple carrière simultanée d'architecte, d'urbaniste et d'ingénieur-conseil en génie civil, l'auteur investigue les étapes et composantes tant rationnelles que subjectives de la création architecturale, en mettant en évidence les modalités de la complémentarité indissociable entre ces deux démarches. Il apporte(...)
Title:
Créativité et rationalisme en architecture
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S'appuyant sur l'expérience professionnelle issue d'une triple carrière simultanée d'architecte, d'urbaniste et d'ingénieur-conseil en génie civil, l'auteur investigue les étapes et composantes tant rationnelles que subjectives de la création architecturale, en mettant en évidence les modalités de la complémentarité indissociable entre ces deux démarches. Il apporte ainsi un éclairage nouveau sur les concepts de créativité et d'inventivité, en distinguant clairement l'approche de l'architecte de celle de l'ingénieur. Il en déduit des propositions opérationnelles pour assurer aux futurs architectes une formation adaptée aux exigences contemporaines de l'architecture, et pour restaurer le rôle de maître d'œuvre que la tradition et la logique professionnelle.
Créativité et rationalisme en architecture
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S'appuyant sur l'expérience professionnelle issue d'une triple carrière simultanée d'architecte, d'urbaniste et d'ingénieur-conseil en génie civil, l'auteur investigue les étapes et composantes tant rationnelles que subjectives de la création architecturale, en mettant en évidence les modalités de la complémentarité indissociable entre ces deux démarches. Il apporte ainsi un éclairage nouveau sur les concepts de créativité et d'inventivité, en distinguant clairement l'approche de l'architecte de celle de l'ingénieur. Il en déduit des propositions opérationnelles pour assurer aux futurs architectes une formation adaptée aux exigences contemporaines de l'architecture, et pour restaurer le rôle de maître d'œuvre que la tradition et la logique professionnelle.
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books
books
Publication:
October 2005, Paris
October 2005, Paris
Subject:
Architectural Theory
Architectural Theory
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books
books
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$48.25
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Préface d'André Chastel
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Préface d'André Chastel
Title:
Guide de sources de l'histoire de l'art et de l'architecture en Alsace Xie - XVIIIe siècles
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Préface d'André Chastel
Guide de sources de l'histoire de l'art et de l'architecture en Alsace Xie - XVIIIe siècles
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Préface d'André Chastel
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books
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January 1900, Strasbourg
January 1900, Strasbourg
Subject:
Architectural Theory
Architectural Theory
