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Paul Letarouilly's masterpiece, Edifices de Rome Moderne, has been hailed as the most beautiful book on Renaissance architecture ever published. Letarouilly (1795–1855) devoted thirty-five years to drawing the plans, sections, elevations, perspectives, and large-scale details of gardens, convents, palaces, and churches of Renaissance Rome. His keen observational ability and immaculate drawing skills make this work an indispensable sourcebook. In many cases his etchings remain the only measured plans or elevations available; he also recorded buildings destroyed by later demolitions. Our 1982 reprint of Edifices de Rome Moderne has been recognized as a classic in its own right: razor-sharp reproductions of the original plates in a usable format. Now we're delighted to offer the Edifices in an even-easier-to-use size, and in a sewn paperback binding to make it an affordable cornerstone of any architecture student's library.
Drawn from five large volumes published between 1825 and 1882, this student's edition showcases the architectural splendor of Renaissance Rome for a new generation. Paul Letarouilly's original work constitutes the standard reference, presenting the most complete collection of plans, elevations, and details of great buildings and monuments designed by Michelangelo, Peruzzi, Vignola, Bernini, and many others.
French architect Paul Letarouilly (1795-1855), author of the masterpiece Edifices de Rome Moderne, was unequaled in his observational ability and impeccable drawing skills. He devoted many years of his life living in austerity and refusing paying commissions to compile and draw the intricate details and decorative elements of the most breathtaking buildings in Italy's Vatican City, including St. Peter's Basilica, the Sistine Chapel, the Pontifical Palace, the Museo Pio Clementino, and the Villa Pia. Published in 1882, after his death, Vatican served as an unparalleled sourcebook of everything from plans, elevations, interior room views, and perspective drawings to mosaics, wall panels, door frames, fountains, towers, domes, cornices, and moldings. Prior to the books original publication, these details were not easily replicated in other parts of the world. Vatican gave access to rigorous documentation of the work of some of the most significant Renaissance architects Michelangelo, Bernini, Bramante, Sangallo, and Peruzzi and is now often credited as one of the primary catalysts for the American Renaissance style, the results of which can be seen in any capital city in America. The precision and attention to detail that Letarouilly demanded of his engravers advanced the art of etching in the nineteenth century. Exquisite rendering techniques and precise execution make this book as beautiful as it is useful. Originally published in three volumes, Vatican is presented as a single facsimile edition in our Classic Reprints series and includes a new foreword by architectural historian Ingrid Rowland. Published in association with the Institute of Classical Architecture and Classical America.
Paul Letarouilly's masterpiece, Edifices de Rome Moderne, has been hailed as the most beautiful book on Renaissance architecture ever published. Letarouilly devoted 35 years to drawing the plans, sections, elevations, perspectives, and large-scale details of gardens, convents, palaces, and churches of Renaissance Rome. His keen observational ability and immaculate drawing skills make this work an indispensable sourcebook. In many cases his etchings remain the only measured plans or elevations available; he also recorded buildings destroyed by later demolitions. Princeton Architectural Press's Reprint Series was established in 1981 to make rare volumes on architecture available to a wider audience. The books' beautiful reproductions and finest quality printing and binding match those of the originals, while their 9-by-12-inch format makes them accessible and affordable. New introductions bring a modern voice to these classic texts, updating them to become invaluable contemporary resources. These critically acclaimed books are an essential addition to any library.
Perhaps the finest record of classical architecture ever made. Detailed illustrations offer unparalleled three-dimensionality and effects of scale. Parthenon, Roman temples, Pantheon, Colosseum, many others. Introductory notes. Preface. 127 plates.
Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives. The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.
This book offers an account of neo-Renaissance taste and style in Italy during the second half of the nineteenth century. By the time Italy had developed its obsession with the neo-Renaissance in the 1870s, collectors and scholars in the rest of Europe had been excited by Renaissance taste and style for several decades. In Italy the Renaissance was promptly reconceptualised, in a forced alignment with the accepted historical version of its birth and development, and its help enlisted in the search for an Italian national identity. But what represented this neo-Renaissance in Italy, and what aided its diffusion? In an attempt to answer these questions this book explores the many areas marked by neo-Renaissance taste. It traces its diffusion and development from the institutions which instructed its chief exponents, to architecture and exhibitions and the publications which disseminated neo-Renaissance designs so effectively.
[A] richly illustrated, carefully explained introduction to classical architecture... Highly recommended. --Choice
Even as oversized McMansions continue to elbow their way into tiny lots nationwide, a much different trend has taken shape. This return to traditional architectural principles venerates qualities that once were taken for granted in home design: structural common sense, aesthetics of form, appropriateness to a neighborhood, and even sustainability. Marianne Cusato, creator of the award-winning Katrina Cottages, has authored and illustrated this definitive guide to what makes houses look and feel right--to the eye and to the soul. She teaches us the language and grammar of classical architecture, revealing how balance, harmony, and detail all contribute to creating a home that will be loved rather than tolerated. And she takes us through the do’s and don’ts of every element of home design, from dormers to doorways to columns. Integral to the book are its hundreds of elegant line drawings--clearly rendering the varieties of lintels and cornices, arches and eaves, and displaying "avoid” and "use” versions of the same elements side by side.