THE ARCHITECTURE OF HUMANISM A Study in the History of Taste1969 |
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Seite 87
... pleasure in the colour and the carving will be pleasure in painting or sculpture ; our specifically architectural pleasure will be in the functions of the structural elements themselves . It is in this vivid constructive significance of ...
... pleasure in the colour and the carving will be pleasure in painting or sculpture ; our specifically architectural pleasure will be in the functions of the structural elements themselves . It is in this vivid constructive significance of ...
Seite 168
... pleasure we ob- tain from architecture - pleasure which seems unaccount- able , or for which we do not trouble to account - springs in reality from space . Even from a utilitarian point of view , space is logically our end . To enclose ...
... pleasure we ob- tain from architecture - pleasure which seems unaccount- able , or for which we do not trouble to account - springs in reality from space . Even from a utilitarian point of view , space is logically our end . To enclose ...
Seite 175
... pleasure of equipoise and calm , or to impart a sense of forward , unimpeded move- ment , symmetrical composition ... pleasures , of beauty isolated and de- tached . But architecture aims at more than isolated pleas- ures . It is above ...
... pleasure of equipoise and calm , or to impart a sense of forward , unimpeded move- ment , symmetrical composition ... pleasures , of beauty isolated and de- tached . But architecture aims at more than isolated pleas- ures . It is above ...
Inhalt
Foreword by Henry Hope Reed | 15 |
ONE Renaissance Architecture | 25 |
Two The Romantic Fallacy | 40 |
Urheberrecht | |
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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 archi ARCHITECTURE OF HUMANISM argument artistic baroque architects beauty Bernini Bramante Brunelleschi building century chitecture 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 forms Geoffrey Scott give Gothic Gothic revival Greek humanist ideal ideas imagination imitation influence insistent instinct intellectual Italian Italy laws less literary logic Mary Berenson 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 Scott sculpture sense sequence space spirit Stones of Venice structure taste tecture things thought tion tradition true tural ture Vitruvian Vitruvius