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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... 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 INTRODUCTION.
... 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 INTRODUCTION.
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... decoration, and from their fertile conflict new inventions are ever forthcoming to please a rapidly tiring taste. Fashions die; but the Renaissance itself, more irresistible than any force which it produced, begets its own momentum, and ...
... decoration, and from their fertile conflict new inventions are ever forthcoming to please a rapidly tiring taste. Fashions die; but the Renaissance itself, more irresistible than any force which it produced, begets its own momentum, and ...
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... decorative use of the Orders so conspicuous in Renaissance architecture did not express structure, that it was contrary to construction, and, for that reason, vicious. Lastly, architectural design was not dictated, except to a slight ...
... decorative use of the Orders so conspicuous in Renaissance architecture did not express structure, that it was contrary to construction, and, for that reason, vicious. Lastly, architectural design was not dictated, except to a slight ...
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... decorative resources. The successive stages of the Gothic taste exhibit very clearly the 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 ...
... decorative resources. The successive stages of the Gothic taste exhibit very clearly the 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 ...
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... decoration of a room, just as, elsewhere, an Eastern scheme might dominate. But to go further and Gothicise the main design, seemed at the first an obvious fault of taste. 'I delight,' writes Gray to Wharton, 'to hear you talk of giving ...
... decoration of a room, just as, elsewhere, an Eastern scheme might dominate. But to go further and Gothicise the main design, seemed at the first an obvious fault of taste. 'I delight,' writes Gray to Wharton, 'to hear you talk of giving ...
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