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. |
Im Buch
Ergebnisse 1-5 von 20
Seite
... false, and to explain why, when false, they have yet remained plausible, powerful, and, to many minds, convincing. This is to travel far from the original question. Yet I believe the inquiry to be essential, and I have sought to keep it ...
... false, and to explain why, when false, they have yet remained plausible, powerful, and, to many minds, convincing. This is to travel far from the original question. Yet I believe the inquiry to be essential, and I have sought to keep it ...
Seite
... false analogies into the province of architecture; and these axioms, unanalysed and mutually inconsistent, confuse our actual experience at the source. To trace the full measure of that confusion, and if possible to correct it, is ...
... false analogies into the province of architecture; and these axioms, unanalysed and mutually inconsistent, confuse our actual experience at the source. To trace the full measure of that confusion, and if possible to correct it, is ...
Seite
... false dawn of classic style. Indeed, it seems evident that mediæval art could exercise but a temporary dominion among peoples who, however little of the authentic Roman strain they might legitimately boast, yet by the origin of their ...
... false dawn of classic style. Indeed, it seems evident that mediæval art could exercise but a temporary dominion among peoples who, however little of the authentic Roman strain they might legitimately boast, yet by the origin of their ...
Seite
... false ones were introduced.1 And these practices were by no means confined, as is sometimes suggested, to the later and supposedly decadent phases of the art. Material, then, was utterly subservient to style. Enough has now perhaps been ...
... false ones were introduced.1 And these practices were by no means confined, as is sometimes suggested, to the later and supposedly decadent phases of the art. Material, then, was utterly subservient to style. Enough has now perhaps been ...
Seite
... false æsthetic, can already be recognised in a certain restlessness and satiety with native and traditional forms, and in a tendency to take interest in remote kinds of art. One of the earliest indications of this spirit is the taste ...
... false æsthetic, can already be recognised in a certain restlessness and satiety with native and traditional forms, and in a tendency to take interest in remote kinds of art. One of the earliest indications of this spirit is the taste ...
Inhalt
NATURALISMAND THE PICTURESQUE | |
THE MECHANICAL FALLACY | |
THE ETHICAL FALLACY | |
THE BIOLOGICAL FALLACY | |
THE ACADEMIC TRADITION | |
HUMANIST VALUES | |
CONCLUSION | |
ANALYTIC SUMMARY | |
EPILOGUE 1924 | |
Andere Ausgaben - Alle anzeigen
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