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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... characters 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 ...
... characters 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 ...
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... character of the whole movement, or of each successive step, nor afford any clue to the sequence of its stages. They are like the accidents of a landscape which might shape the course of a wandering stream. But the architecture of Italy ...
... character of the whole movement, or of each successive step, nor afford any clue to the sequence of its stages. They are like the accidents of a landscape which might shape the course of a wandering stream. But the architecture of Italy ...
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... character, number, and variety of its phases. And it tells nothing of classic culture in itself. Racial considerations are here too general and too vague. The field of politics might seem more fruitful. The growth of the new style is ...
... character, number, and variety of its phases. And it tells nothing of classic culture in itself. Racial considerations are here too general and too vague. The field of politics might seem more fruitful. The growth of the new style is ...
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... character of the papacy in this period was largely formed by the character of its popes; and such men as Pius II., Leo X., and Julius II., were fit patrons of Renaissance architecture, partly for the reason that they were cultivated ...
... character of the papacy in this period was largely formed by the character of its popes; and such men as Pius II., Leo X., and Julius II., were fit patrons of Renaissance architecture, partly for the reason that they were cultivated ...
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... character of romanticism, and the point at which it overweighs the sense of form. Up to the middle of the eighteenth century the mediæval style merely spelt discomfort, desolation, and gloom.1 Noble owners, so far as their purse allowed ...
... character of romanticism, and the point at which it overweighs the sense of form. Up to the middle of the eighteenth century the mediæval style merely spelt discomfort, desolation, and gloom.1 Noble owners, so far as their purse allowed ...
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 |
Häufige Begriffe und Wortgruppen
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