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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... proportion, and a third by standards of practical use or by the moral impulse of its builders. This medley of elements, diverse and uncommensurated as they are, can furnish no general estimate or true comparison of style. Doubtless, as ...
... proportion, and a third by standards of practical use or by the moral impulse of its builders. This medley of elements, diverse and uncommensurated as they are, can furnish no general estimate or true comparison of style. Doubtless, as ...
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... proportion is scarcely struck, before their fine adjustments are swept away upon the torrent that springs from Michael Angelo. In the ferment of creation, of which Italy from this time forth is the scene, the greatest names count ...
... proportion is scarcely struck, before their fine adjustments are swept away upon the torrent that springs from Michael Angelo. In the ferment of creation, of which Italy from this time forth is the scene, the greatest names count ...
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... proportion as the classic movement was no empty revival, in proportion as it represented a rising to the surface of the preferences, still vital and potent, of an ancient and indigenous culture, which claimed a future as confidently as ...
... proportion as the classic movement was no empty revival, in proportion as it represented a rising to the surface of the preferences, still vital and potent, of an ancient and indigenous culture, which claimed a future as confidently as ...
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... proportion, moreover, as the use of stucco became prevalent, the construction which it concealed became an object of indifference. The one constructional practice which distinguishes the Renaissance does but confirm the insignificant ...
... proportion, moreover, as the use of stucco became prevalent, the construction which it concealed became an object of indifference. The one constructional practice which distinguishes the Renaissance does but confirm the insignificant ...
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... proportion and coherence of abstract design; and these the individual architect like Brunelleschi might hope to provide. He asked less, not more, of his craftsmen. The resources of skill acquired during centuries of Gothic practice were ...
... proportion and coherence of abstract design; and these the individual architect like Brunelleschi might hope to provide. He asked less, not more, of his craftsmen. The resources of skill acquired during centuries of Gothic practice were ...
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