The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 166
... Space , also , controls it . Spaces may be in two dimensions or in three . We may consider the simpler case first . A large part of architectural design consists in the arrangement of forms upon surfaces , that is to say , within spaces ...
... Space , also , controls it . Spaces may be in two dimensions or in three . We may consider the simpler case first . A large part of architectural design consists in the arrangement of forms upon surfaces , that is to say , within spaces ...
Seite 168
... space . Architecture alone of the Arts can give space its full value . It can surround us with a void of three dimensions ; and whatever delight may be derived from that is the gift of architecture alone . Paint- ing can depict space ...
... space . Architecture alone of the Arts can give space its full value . It can surround us with a void of three dimensions ; and whatever delight may be derived from that is the gift of architecture alone . Paint- ing can depict space ...
Seite 170
... spaces which sat- isfy it should appear beautiful , those which offend it ugly . We cannot , however , lay down fixed proportions of space as architecturally right . Space value in architecture is af- fected first and foremost , no ...
... spaces which sat- isfy it should appear beautiful , those which offend it ugly . We cannot , however , lay down fixed proportions of space as architecturally right . Space value in architecture is af- fected first and foremost , no ...
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 æsthetic value aissance antique appear archaic stage archi argument artistic baroque architects beauty Bernini Bramante Brunelleschi builders building century chitecture church civilisation classic classic architecture coherence confused conscious construction criticism of architecture cult delight distinct dome effect elements Empire style ethical criticism experience expression fact false favour forms GEOFFREY SCOTT give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation influence insistent instinct intellectual Italian Italy laws less literary logic mass material means mechanical mediæval ment mind modern moral Nature ourselves painting Palladio past period physical picturesque pleasure poetic poetry practical prejudice principle proportion qualities quattrocento realised recognise relation Renais Renaissance architecture Renaissance style Roman architecture Romantic Fallacy Romantic Movement Romanticism Rome Ruskin sance satisfy scientific sculpture sense sequence space spirit Stones of Venice structure taste tecture things thought tion tradition true tural ture Vitruvian Vitruvius