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Emulation is a challenging middle ground between imitation and invention. The idea of rivaling by means of imitation, as old as the Aenead and as modern as Michelangelo, fit neither the pessimistic deference of the neoclassicists nor the revolutionary spirit of the Romantics. Emulation thus disappeared along with the Renaissance humanist tradition, but it is slowly being recovered in the scholarship of Roman art. It remains to recover emulation for the Renaissance itself, and to revivify it for modern practice. Mayernik argues that it was the absence of a coherent understanding of emulation that fostered the fissuring of artistic production in the later eighteenth century into those devoted to copying the past and those interested in continual novelty, a situation solidified over the course of the nineteenth century and mostly taken for granted today. This book is a unique contribution to our understanding of the historical phenomenon of emulation, and perhaps more importantly a timely argument for its value to contemporary practice.
Emulation is a challenging middle ground between imitation and invention. The idea of rivaling by means of imitation, as old as the Aenead and as modern as Michelangelo, fit neither the pessimistic deference of the neoclassicists nor the revolutionary spirit of the Romantics. Emulation thus disappeared along with the Renaissance humanist tradition, but it is slowly being recovered in the scholarship of Roman art. It remains to recover emulation for the Renaissance itself, and to revivify it for modern practice. Mayernik argues that it was the absence of a coherent understanding of emulation that fostered the fissuring of artistic production in the later eighteenth century into those devoted to copying the past and those interested in continual novelty, a situation solidified over the course of the nineteenth century and mostly taken for granted today. This book is a unique contribution to our understanding of the historical phenomenon of emulation, and perhaps more importantly a timely argument for its value to contemporary practice.
Abstract collection of the International Summer School "ENRICO GUIDONI", City and Territory: Archaeology and Architecture, Castel Madama (RM), Castello Orsini; Rome, Parco Regionale dell'Appia Antica, Italy, September 2-11, 2016, organized by the Proloco Castel Madama and the International Centre for Heritage Studies of Girne American University.
"An accomplished architect and urbanist goes back to the roots of what makes cities attractive and livable, demonstrating how we can restore function and beauty to our urban spaces for the long term. Nearly everything we treasure in the worldÕs most beautiful cities was built over a century ago. Cities like Prague, Paris, and Lisbon draw millions of visitors from around the world because of their exquisite architecture, walkable neighborhoods, and human scale. Yet a great deal of the knowledge and practice behind successful city planning has been abandoned over the last hundred yearsÑnot because of traffic, population growth, or other practical hurdles, but because of ill-considered theories emerging from Modernism and reactions to it. The errors of urban design over the last century are too great not to question. The solutions being offered todayÑsustainability, walkability, smart and green technologiesÑhint at what has been lost and what may be regained, but they remain piecemeal and superficial. In The Art of Classic Planning, architect and planner Nir Haim Buras documents and extends the time-tested and holistic practices that held sway before the reign of Modernism. With hundreds of full-color illustrations and photographs that will captivate architects, planners, administrators, and developers, The Art of Classic Planning restores and revitalizes the foundations of urban planning. Inspired by venerable cities like Kyoto, Vienna, and Venice, and by the great successes of LÕEnfantÕs Washington, HaussmannÕs Paris, and BurnhamÕs Chicago, Buras combines theory and a host of examples to arrive at clear guidelines for best practices in classic planning for todayÕs world. The Art of Classic Planning celebrates the enduring principles of urban design and invites us to return to building beautiful cities."
This book brings to light central topics that are neglected in current histories and theories of architecture and urbanism. These include the role of imitation in earlier centuries and its potential role in present practice; the necessary relationship between architecture, urbanism and the rural districts; and their counterpart in the civil order that builds and uses what is built. The narrative traces two models for the practice of architecture. One follows the ancient model in which the architect renders his service to serve the interests of others; it survives and is dominant in modernism. The other, first formulated in the fifteenth century by Leon Battista Alberti, has the architect use his talent in coordination with others to contribute to the common good of a republican civil order that seeks to protect its own liberty and that of its citizens. Palladio practiced this way, and so did Thomas Jefferson when he founded a uniquely American architecture, the counterpart to the nation’s founding. This narrative gives particular emphasis to the contrasting developments in architecture on the opposite sides of the English Channel. The book presents the value for clients and architects today and in the future of drawing on history and tradition. It stresses the importance, indeed, the urgency, of restoring traditional practices so that we can build just, beautiful, and sustainable cities and rural districts that will once again assist citizens in living not only abundantly but also well as they pursue their happiness.
For Italian city builders more than a thousand years ago, the urban realm was the great theater where their best aspirations were played out, the place where society said the most substantial things about who they were and what they longed for. In this masterful blend of art and cultural history, architect David Mayernik reveals how the very different cities of Venice, Rome, Florence, Siena, and Pienza were all literally designed to be both models of the mind and images of heaven. Mayernik takes the reader on a journey into the past in Timeless Cities, but he also explains why these city-building ideas remain relevant today. For those travelling on vacation or appreciating the art and architecture of Italy from home, Mayernik helps bring the wonder and beauty of the Renaissance mind a little closer.
Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.
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.
Bringing together leading writers and practicing architects including Jean Dethier, David Mayernik, Massimo Scolari, Robert Adam, David Watkin and Leon Krier, this volume provides a kaleidoscopic, multilayered exploration of the Architectural Capriccio. It not only explains the phenomena within a historical context, but moreover, demonstrates its contemporary validity and appropriateness as a holistic design methodology, an inspiring pictorial strategy, an efficient rendering technique and an optimal didactic tool. The book shows and comments on a wide range of historic masterworks and highlights contemporary artists and architects excelling in a modern updated, refreshed and original tradition of the Capriccio.
Hendrik Petrus Berlage, the Dutch architect and architectural philosopher, created a series of buildings and a body of writings from 1886 to 1909 that were among the first efforts to probe the problems and possibilities of modernism. Although his Amsterdam Stock Exchange, with its rational mastery of materials and space, has long been celebrated for its seminal influence on the architecture of the 20th century, Berlage's writings are highlighted here. Bringing together Berlage's most important texts, among them "Thoughts on Style in Architecture", "Architecture's Place in Modern Aesthetics", and "Art and Society", this volume presents a chapter in the history of European modernism. In his introduction, Iain Boyd Whyte demonstrates that the substantial contribution of Berlage's designs to modern architecture cannot be fully appreciated without an understanding of the aesthetic principles first laid out in his writings.