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Renaissance Fun is about the technology of Renaissance entertainments in stage machinery and theatrical special effects; in gardens and fountains; and in the automata and self-playing musical instruments that were installed in garden grottoes. How did the machines behind these shows work? How exactly were chariots filled with singers let down onto the stage? How were flaming dragons made to fly across the sky? How were seas created on stage? How did mechanical birds imitate real birdsong? What was ‘artificial music’, three centuries before Edison and the phonograph? How could pipe organs be driven and made to play themselves by waterpower alone? And who were the architects, engineers, and craftsmen who created these wonders? All these questions are answered. At the end of the book we visit the lost ‘garden of marvels’ at Pratolino with its many grottoes, automata and water jokes; and we attend the performance of Mercury and Mars in Parma in 1628, with its spectacular stage effects and its music by Claudio Monteverdi – one of the places where opera was born. Renaissance Fun is offered as an entertainment in itself. But behind the show is a more serious scholarly argument, centred on the enormous influence of two ancient writers on these subjects, Vitruvius and Hero. Vitruvius’s Ten Books on Architecture were widely studied by Renaissance theatre designers. Hero of Alexandria wrote the Pneumatics, a collection of designs for surprising and entertaining devices that were the models for sixteenth and seventeenth century automata. A second book by Hero On Automata-Making – much less well known, then and now – describes two miniature theatres that presented plays without human intervention. One of these, it is argued, provided the model for the type of proscenium theatre introduced from the mid-sixteenth century, the generic design which is still built today. As the influence of Vitruvius waned, the influence of Hero grew.
George C. Izenour ties detailed information on construction, lighting, acoustical structures, electro-mechanical-hydraulic systems, and stage controls to a rich-history of technological developments from the invention of the proscenium stage in late Renaissance Italy to the contributions of our own time. All the drawings are produced on the same scale for plan, transverse section, and perspective section.
Baroque, the cultural period extending from the mid-sixteenth to the mid-eighteenth century, created some of the world's most striking monuments, music, artworks, and literature. This Handbook goes beyond all existing studies by presenting Baroque not only as a style, but also as a global cultural phenomenon arising in response to enormous religious, political, and technological changes.
The Structures of Practical Knowledge investigates the nature of practical knowledge – why, how, when and by whom it is codified, and once codified, how this knowledge is structured. The inquiry unfolds in a series of fifteen case studies, which range in focus from early modern Italy to eighteenth century China. At the heart of each study is a shared definition of practical knowledge, that is, knowledge needed to obtain a certain outcome, whether that be an artistic or mechanical artifact, a healing practice, or a mathematical result. While the content of practical knowledge is widely variable, this study shows that all practical knowledge is formally equivalent in following a defined workflow, as reflected in a construction procedure, a recipe, or an algorithm. As explored in the volume’s fifteen contributions, there are three levels at which structures of practical knowledge may be understood and examined. At the most immediate level, there are the individual workflows that encompasses practical knowledge itself. Probing further, it is possible to examine the structure of practical knowledge as it is externalized and codified in texts, drawings, and artifacts such as models. Finally, practical knowledge is also related to social structures, which fundamentally determine its dissemination and evolution into new knowledge structures. The social structures of professionals and institutions represent the critical means by which practical knowledge takes form. These actors are the agents of codification, and by means of selection, appropriation, investment, and knowledge development, they determine the formation of new structures of practical knowledge. On a more abstract level, the creation of new knowledge structures is understood as constituting the basis for the further development of scientific knowledge. Rich in subject matter and incisive in the theory it lays out, this volume represents an important contribution to the history of science and epistemology. Individually, the fifteen case studies – encompassing the history of architecture, mining, brewing, glass production, printing, ballistics, mechanics, cartography, cosmology and astronomy – are replete with original research, and offer new insights into the history of science. Taken together, the contributions remodel historical epistemology as a whole, elucidating the underlining knowledge structures that transcend disciplinary boundaries, and that unite practitioners across time and space.
"The theme of this Architecture Annual is "Realize" ... in just one year the Faculty of Architecture and its staff, in collaboration with internal and external designers, were able to realize quite a lot: an efficient and successful relocation to a temporary tent camp and a completely new faculty on Julianalaan." - preface.
Twentieth-century architect Frederick Kiesler's innovative multidisciplinary practice responded to the ever-changing needs of the body in motion, anticipating the research-oriented practices of contemporary art and architecture. In 1960, the renowned architect Philip Johnson championed Frederick Kiesler, calling him “the greatest non-building architect of our time.” Kiesler's ideas were difficult to construct, but as Johnson believed, “enormous” and “profound.” Kiesler (1890–1965) went against the grain of the accepted modern style, rejecting rectilinear glass and steel in favor of more organic forms and flexible structures that could respond to the ever-changing needs of the body in motion. In Elastic Architecture, Stephen Phillips offers the first in-depth exploration of Kiesler's innovative and multidisciplinary research and design practice. Phillips argues that Kiesler established a new career trajectory for architects not as master builders, but as research practitioners whose innovative means and methods could advance alternative and speculative architecture. Indeed, Kiesler's own career was the ultimate uncompromising model of a research-based practice. Exploring Kiesler's formative relationships with the European avant-garde, Phillips shows how Kiesler found inspiration in the plastic arts, experimental theater, early animation, and automatons to develop and refine his spatial concept of the Endless. Moving from Europe to New York in the 1920s, Kiesler applied these radical Dadaist, constructivist, and surrealist practices to his urban display projects, which included shop windows for Saks Fifth Avenue. After launching his innovative Design Correlation Laboratory at Columbia and Yale, Kiesler went on to invent new houses, theaters, and galleries that were meant to move, shift, and adapt to evolutionary changes occurring within the natural and built environment. As Phillips demonstrates vividly, although many of Kiesler's designs remained unbuilt, his ideas proved influential to later generations of architects and speculative artists internationally, including Archigram, Greg Lynn, UNStudio, and Olafur Eliasson.
The Model as Performance investigates the history and development of the scale model from the Renaissance to the present. Employing a scenographic perspective and a performative paradigm, it explores what the model can do and how it is used in theatre and architecture. The volume provides a comprehensive historical context and theoretical framework for theatre scholars, scenographers, artists and architects interested in the model's reality-producing capacity and its recent emergence in contemporary art practice and exhibition. Introducing a typology of the scale model beyond the iterative and the representative model, the authors identify the autonomous model as a provocative construction between past and present, idea and reality, that challenges and redefines the relationship between object, viewer and environment. The Model as Performance was shortlisted for the best Performance Design & Scenography Publication Award at the Prague Quadrennial (PQ) 2019.
Introductory technical guidance for professional engineers, architects and construction managers interested in design and construction of theatres and concert halls. Here is what is discussed: 1. CHARACTERISTICS AND QUALITIES 2. ACCESSORY EQUIPMENT 3. ACCESS, ENVIRONMENT, PERFORMANCE SUPPORT 4. LIGHTING, SCENERY, SOFTGOODS, RIGGING 5. ACOUSTICS.