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This is a study of the stellar and temporal symbolism of traditional buildings.It is a comprehensive work that spans from the generalities of ymbolism of time in general,to the temporal symbolism in Indian,Greek,Roman,Near Eastern,Christian,Chinese,Islamic,North American Indian,African,South American Indian,and Mesoamerican architectures.--Google Books.
Architectural photographer Keister and Cronin, the former associate editor of American Cemetary, present a tour of mausoleums located in such cities as Brooklyn, Philadelphia, Buffalo, Boston, Chicago, New Orleans, Los Angeles, San Francisco. Captions describe the architectural style, the life of
Drawing on cultural theory, phenomenology and concepts from Asian art and philosophy, this book reflects on the role of interpretation in the act of architectural creation, bringing an intellectual and scholarly dimension to real-world architectural design practice. For practising architects as well as academic researchers, these essays consider interpretation from three theoretical standpoints or themes: play, edification and otherness. Focusing on these, the book draws together strands of thought informed by the diverse reflections of hermeneutical scholarship, the uses of digital media and studio teaching and practice.
One marker of the majesty of ancient Rome is its surviving architectural legacy, the stunning remains of which are scattered throughout the circum-Mediterranean landscape. Surprisingly, one truly remarkable aspect of this heritage remains relatively unknown. There exists beneath the waters of the Mediterranean the physical remnants of a vast maritime infrastructure that sustained and connected the western world’s first global empire and economy. The key to this incredible accomplishment and to the survival of structures in the hostile environment of the sea for two thousand years was maritime concrete, a building material invented and then employed by Roman builders on a grand scale to construct harbor installations anywhere they were needed, rather than only in locations with advantageous geography or topography. This book explains how the Romans built so successfully in the sea with their new invention. The story is a stimulating mix of archaeological, geological, historical and chemical research, with relevance to both ancient and modern technology. It also breaks new ground in bridging the gap between science and the humanities by integrating analytical materials science, history, and archaeology, along with underwater exploration. The book will be of interest to anyone interested in Roman architecture and engineering, and it will hold special interest for geologists and mineralogists studying the material characteristics of pyroclastic volcanic rocks and their alteration in seawater brines. The demonstrable durability and longevity of Roman maritime concrete structures may be of special interest to engineers working on cementing materials appropriate for the long-term storage of hazardous substances such as radioactive waste. A pioneering methodology was used to bore into maritime structures both on land and in the sea to collect concrete cores for testing in the research laboratories of the CTG Italcementi Group, a leading cement producer in Italy, the University of Berkeley, and elsewhere. The resulting mechanical, chemical and physical analysis of 36 concrete samples taken from 11 sites in Italy and the eastern Mediterranean have helped fill many gaps in our knowledge of how the Romans built in the sea. To gain even more knowledge of the ancient maritime technology, the directors of the Roman Maritime Concrete Study (ROMACONS) engaged in an ambitious and unique experimental archaeological project – the construction underwater of a reproduction of a Roman concrete pier or pila. The same raw materials and tools available to the ancient builders were employed to produce a reproduction concrete structure that appears to be remarkably similar to the ancient one studied during ROMACON’s fieldwork between 2002-2009. This volume reveals a remarkable and unique archaeological project that highlights the synergy that now exists between the humanities and science in our continuing efforts to understand the past. It will quickly become a standard research tool for all interested in Roman building both in the sea and on land, and in the history and chemistry of marine concrete. The authors also hope that the data and observations it presents will stimulate further research by scholars and students into related topics, since we have so much more to learn in the years ahead.
The word time occurs more than seven times as often as space in written English, yet in the design of the indoor environments where we now spend most of our lives these priorities are typically reversed, with time often being little more than an afterthought. Embodied Time endeavors to correct that imbalance by demonstrating how built environments can be designed to evoke positive recollections of the past, interactions with the present, and anticipations of the future.
This Here Now explains how traditional Japanese buildings respond to distinctive materials, objects and moments, and argues that the built acknowledgment of such events can help to affirm the individuality of our own being. The book also shows how buildings can help us to overcome our separateness by enabling us to share the normally subjective experiences of this, here and now.
Why the rise of redundant precision in architecture and the accompanying fear of error are key to understanding the discipline's needs, anxieties and desires. When architects draw even brick walls to six decimal places with software designed to cut lenses, it is clear that the logic that once organized relations between precision and material error in construction has unraveled. Precision, already a promiscuous term, seems now to have been uncoupled from its contract with truthfulness. Meanwhile error, and the always-political space of its dissent, has reconfigured itself. In The Architecture of Error Francesca Hughes argues that behind the architect's acute fetishization of redundant precision lies a special fear of physical error. What if we were to consider the pivotal cultural and technological transformations of modernism to have been driven not so much by the causes its narratives declare, she asks, as by an unspoken horror of loss of control over error, material life, and everything that matter stands for? Hughes traces the rising intolerance of material vagaries—from the removal of ornament to digitalized fabrication—that produced the blind rejection of organic materials, the proliferation of material testing, and the rhetorical obstacles that blighted cybernetics. Why is it, she asks, that the more we cornered physical error, the more we feared it? Hughes's analysis of redundant precision exposes an architecture of fear whose politics must be called into question. Proposing error as a new category for architectural thought, Hughes draws on other disciplines and practices that have interrogated precision and failure, citing the work of scientists Nancy Cartwright and Evelyn Fox Keller and visual artists Gordon Matta-Clark, Barbara Hepworth, Rachel Whiteread, and others. These non-architect practitioners, she argues, show that error need not be excluded and precision can be made accountable.