The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 93
... physical experience . We have no knowledge in ourselves of any such paradox- ical relations . Our æsthetic reactions are limited by our power to recreate in ourselves , imaginatively , the physical conditions suggested by the form we ...
... physical experience . We have no knowledge in ourselves of any such paradox- ical relations . Our æsthetic reactions are limited by our power to recreate in ourselves , imaginatively , the physical conditions suggested by the form we ...
Seite 163
... physical states and states of the mind and the emotions needs no emphasis . Our theory does not say that physical states enter largely into the spectator's conscious- ness ; it says that they , or the suggestion of them , are a ...
... physical states and states of the mind and the emotions needs no emphasis . Our theory does not say that physical states enter largely into the spectator's conscious- ness ; it says that they , or the suggestion of them , are a ...
Seite 171
... physical firmness and security is not less fundamental to our nature than that instinctive need for expansion which gives value to architectural space . Any unlooked - for failure of resistance in tangible objects defeats the vital ...
... physical firmness and security is not less fundamental to our nature than that instinctive need for expansion which gives value to architectural space . Any unlooked - for failure of resistance in tangible objects defeats the vital ...
Inhalt
Introduction | 15 |
ONE Renaissance Architecture | 25 |
Two The Romantic Fallacy | 40 |
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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 actual æsthetic appear archi architects argument attempt baroque beauty becomes building cause century character classic confused consequences construction criticism delight detail direct distinct effect elements essential ethical example exist experience expression fact Fallacy false feeling follow force forms function give Gothic Greek hand human ideal ideas imagination imitation influence instinct intellectual interest Italy laws less lines literary logic mass material means mechanical ment mere merely method mind moral movement Nature necessary object once original painting past period physical picturesque pleasure poetry practical preferences present principle problem proportion purely qualities question realised reason relation Renaissance architecture romantic Romanticism satisfy scientific seems sense sequence sometimes space spirit stand structure style suggested taste tecture theory things thought tion tradition true ture whole