The Architecture of Humanism - A Study in the History of TasteRead Books Ltd, 31.05.2013 - 274 Seiten The Architecture of Humanism offers a brilliant analysis of the theories and ideas behind much of nineteenth- and twentieth-century architecture. It discusses the classical tradition as reflected in the architecture of Renaissance and Baroque Italy and the role given the human body in that tradition. It is recommended reading for all architecture students, and essential for those interested in the revival of classical architecture. |
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... Brunelleschi, in the fifteenth century, to the rise of the Gothic movement, by which, four hundred years later, they were eclipsed. The old mediævalism, and the new, mark the boundaries of our subject. At no point in the four centuries ...
... Brunelleschi, in the fifteenth century, to the rise of the Gothic movement, by which, four hundred years later, they were eclipsed. The old mediævalism, and the new, mark the boundaries of our subject. At no point in the four centuries ...
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... Brunelleschi, masterful as they appeared when, by a daring reversion of style, he liberated Italian building from the alien traditions of the north, seem, in two generations, to be but the hesitating precursors of Bramante's more ...
... Brunelleschi, masterful as they appeared when, by a daring reversion of style, he liberated Italian building from the alien traditions of the north, seem, in two generations, to be but the hesitating precursors of Bramante's more ...
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... Brunelleschi, and though the Strozzi Palace frowns in unfinished grandeur, the noblest occasions are often met by an exquisite humility of architecture. Yet, chastened as it was to its extreme refinement, this modest style of Tuscany ...
... Brunelleschi, and though the Strozzi Palace frowns in unfinished grandeur, the noblest occasions are often met by an exquisite humility of architecture. Yet, chastened as it was to its extreme refinement, this modest style of Tuscany ...
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... Brunelleschi, unquestionably, by its audacity and grandeur, the effective startingpoint of the Renaissance, was indeed a great triumph of engineering skill; but it involved no fundamental principle which was not already displayed in the ...
... Brunelleschi, unquestionably, by its audacity and grandeur, the effective startingpoint of the Renaissance, was indeed a great triumph of engineering skill; but it involved no fundamental principle which was not already displayed in the ...
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... Brunelleschi might hope to provide. He asked less, not more, of his craftsmen. The resources of skill acquired during centuries of Gothic practice were, technically, more than sufficient for the new tasks. Imaginatively, his sculptors ...
... Brunelleschi might hope to provide. He asked less, not more, of his craftsmen. The resources of skill acquired during centuries of Gothic practice were, technically, more than sufficient for the new tasks. Imaginatively, his sculptors ...
Inhalt
NATURALISMAND THE PICTURESQUE | |
THE MECHANICAL FALLACY | |
THE ETHICAL FALLACY | |
THE BIOLOGICAL FALLACY | |
THE ACADEMIC TRADITION | |
HUMANIST VALUES | |
CONCLUSION | |
ANALYTIC SUMMARY | |
EPILOGUE 1924 | |
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The Architecture of Humanism: A Study in the History of Taste Geoffrey Scott Eingeschränkte Leseprobe - 1999 |
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academic achieved æsthetic purpose æsthetic value antiquity appear archæology archaic stage architectural art artistic baroque architects Bramante Bramante’s Brunelleschi builders building century CHAPTER character civilisation classic architecture coherence confusion conscious consequences construction Corinthian Orders criticism of architecture cult decorative delight distinction dome effect elements Empire style ethical criticism experience expression fact false forms function give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation influence insistent instinct intellectual Italian Italian architecture Italy laws less literary logic mass material means mechanical mediæval mind modern moral Nature ourselves painting Palladio past period Peter’s physical picturesque pleasure poetic poetry practical prejudice principle proportion qualities quattrocento realised recognise relation Renaissance architecture Renaissance style Roman architecture Romantic Fallacy Romantic Movement Romanticism Rome Ruskin satisfy scientific sculpture sense sequence space spirit Stones of Venice structure taste theory of architecture thought tradition true Vitruvian Vitruvius