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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... give expression to this seemingly identical enthusiasm are contradictory in the extreme. Never were the phases of a single art more diverse. For to consistency the Renaissance, with all its theories, was vitally indifferent. Its energy ...
... give expression to this seemingly identical enthusiasm are contradictory in the extreme. Never were the phases of a single art more diverse. For to consistency the Renaissance, with all its theories, was vitally indifferent. Its energy ...
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... give and do not necessarily control. Nevertheless it is by reference to these external factors that the architectural forms of the Renaissance are persistently explained. Let us see how far such explanations can carry us. It is probably ...
... give and do not necessarily control. Nevertheless it is by reference to these external factors that the architectural forms of the Renaissance are persistently explained. Let us see how far such explanations can carry us. It is probably ...
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... give free play to an architecture which, intrinsically, in its character as an art, remained independent of them. The sole centralising influence, in any imaginative sense, was that of the Church, and even this was not felt as such till ...
... give free play to an architecture which, intrinsically, in its character as an art, remained independent of them. The sole centralising influence, in any imaginative sense, was that of the Church, and even this was not felt as such till ...
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... give no immediate account. It is an unconscious attempt to drill art into the readymade categories which we have found useful in quite other fields, and to explain the unfamiliar by the familiar. It is the application to art of the ...
... give no immediate account. It is an unconscious attempt to drill art into the readymade categories which we have found useful in quite other fields, and to explain the unfamiliar by the familiar. It is the application to art of the ...
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... give us rules, but not principles. They had no need of theory, for they addressed themselves to taste. Periods of vigorous production, absorbed in the practical and the particular, do not encourage universal thought. The death of the ...
... give us rules, but not principles. They had no need of theory, for they addressed themselves to taste. Periods of vigorous production, absorbed in the practical and the particular, do not encourage universal thought. The death of the ...
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