The Architecture of Humanism: A Study in the History of TasteHoughton Mifflin, 1914 - 272 Seiten |
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Seite 1
... force on architecture an unreal unity of aim . ' Commodity , firmness , and delight ' ; between these three values the criticism of architecture has insecurely wavered , not always distinguishing very clearly between them , 1 Sir Henry ...
... force on architecture an unreal unity of aim . ' Commodity , firmness , and delight ' ; between these three values the criticism of architecture has insecurely wavered , not always distinguishing very clearly between them , 1 Sir Henry ...
Seite 15
... force . Of architecture in Italy was this most particularly true . The forms of Brunelleschi , masterful as they appeared when , by a daring reversion of style , he liberated Italian building from the alien traditions of the north ...
... force . Of architecture in Italy was this most particularly true . The forms of Brunelleschi , masterful as they appeared when , by a daring reversion of style , he liberated Italian building from the alien traditions of the north ...
Seite 16
... force which it produced , begets its own momentum , and passes on , with almost the negligent fecundity of nature , self - destructive and self - renewing . We are confronted with a period of architecture at once daring and pedantic ...
... force which it produced , begets its own momentum , and passes on , with almost the negligent fecundity of nature , self - destructive and self - renewing . We are confronted with a period of architecture at once daring and pedantic ...
Seite 33
... force upon architectural art such external standards , and to explain it by such external influences ? Clearly , it is this . Taste is supposed to be a matter so various , so capricious , so inconsequent , and so obscure that it is ...
... force upon architectural art such external standards , and to explain it by such external influences ? Clearly , it is this . Taste is supposed to be a matter so various , so capricious , so inconsequent , and so obscure that it is ...
Seite 40
... force at the time when , with the French Revolution , its various manifestations came into such startling prominence as to require attention and receive a name . Any movement strong enough to become conspicuously dominant must long ...
... force at the time when , with the French Revolution , its various manifestations came into such startling prominence as to require attention and receive a name . Any movement strong enough to become conspicuously dominant must long ...
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
academic achieved aesthetic æsthetic value antique archæology archi architectural art artistic baroque architects beauty Bramante Brunelleschi builders building century CHAPTER character classic architecture coherence conscious construction criticism of architecture cult decorative delight distinction dome effect elements Empire style ethical criticism exist experience expression fact false favourable forms function give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation impulse influence insistent instinct intellectual interest Italian Italian architecture Italy laws less lines literary logic mass material means mechanical mediæval method mind modern moral Nature painting Palladio past period physical picturesque pleasure poetic poetry practical prejudice principle proportion qualities quattrocento realised recognise relation Renais Renaissance architecture Renaissance humanism Renaissance style Roman architecture Romantic Fallacy Romantic Movement Romanticism Rome Ruskin sance satisfy scientific sculpture sense sequence space spirit Stones of Venice structure taste tecture things thought tion tradition true Vitruvius
Beliebte Passagen
Seite 215 - Awake! for morning in the bowl of night Has flung the stone that puts the stars to flight: And lo! the hunter of the east has caught The sultan's turret in a noose of light.
Seite 121 - We have seen above, that the whole mass of the architecture, founded on Greek and Roman models, which we have been in the habit of building for the last three centuries, is utterly devoid of all life, virtue, honourableness, or power of doing good. It is base, unnatural, unfruitful, unenjoyable, and impious. Pagan in its origin, proud and unholy in its revival, paralyzed in its old age...
Seite 144 - The day chosen by Sixtus for this undertaking was the 10th of September, a Wednesday (which he had always found to be a fortunate day), and that immediately preceding the festival of the Elevation of the Cross, to which the obelisk was to be dedicated. The workmen again commenced their labours by commending themselves to God, all falling on their knees as they entered the hiclosure.
Seite 261 - The centre of that architecture was the human body ; its method, to transcribe in stone the body's favourable states ; and the moods of the spirit took visible shape along its borders, power and laughter, strength and terror and calm.
Seite 39 - Romanticism may be said to consist in a high development of poetic sensibility towards the remote, as such.
Seite 2 - The mechanical bondage of construction bas closely circumscribed its growth. Thrust and balance, pressure and its support, are at the root of the language which architecture employs. The Inherent character of marble, brick, wood, and iron have moulded Its forms, set limits to its achievement, and governed in a measure, even its decorative detail. On every hand the study of architecture encounters physics, statics, and dynamics, suggesting, controlling, Justifying Its design. It is open to us, therefore,...
Seite 93 - For a single moment, while the past [92] still imposed its habit upon thought, disaster was arrested. The cult of Nature was a convention like the rest, and sought a place within the scheme. But the next step was the suicide of taste. Taken in isolation, made hostile to the formal instincts of the mind, Nature led, and can only lead, to chaos; whence issued a monstrous architecture: informe ingens, cui lumen ademptum.
Seite 210 - Architecture, simply and immediately perceived, is a combination, revealed through light and shade, of spaces, of masses, and of lines,' 3 which embody the meaning and significance of the institution housed within its walls.
Seite 1 - From this phrase of an English humanist 1 a theory of architecture might take its start. Architecture is a focus where three separate purposes have converged. They are blended in a single method; they are fulfilled in a single result; yet in their own nature they are distinguished from each other by a deep and permanent disparity. The criticism of architecture has been confused in its process; it has built up strangely diverse theories of the art, and the verdicts it has pronounced have been contradietary...
Seite 213 - This is the humanism of architecture. The tendency to project the image of our functions into concrete forms is the basis, for architecture, of creative design.