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Rethinking Basic Design in Architectural Education provides historical and computational insights into beginning design education for architecture. Inviting the readers to briefly forget what is commonly known as basic design, it delivers the account of two educators, Denman W. Ross and Arthur W. Dow, from the turn of the twentieth century in Northeast America, interpreting key aspects of their methodology for teaching foundations for design and art. This alternate intellectual context for the origins of basic design as a precursor to computational design complements the more haptic, more customized, and more open-source design and fabrication technologies today. Basic design described and illustrated here as a form of low-tech computation offers a setting for the beginning designer to consciously experience what it means to design. Individualized dealings with materials, tools, and analytical techniques foster skills and attitudes relevant to creative and technologically adept designers. The book is a timely contribution to the theory and methods of beginning design education when fast-changing design and production technology demands change in architecture schools’ foundations curricula.
The work of the Dutch Benedictine monk and architect Hans van der Laan (1904–1991) offers important insights into the ways in which artifacts address the complexity of human physical, cognitive, and social needs. Van der Laan developed a number of powerful lines of thought, three of which are introduced here: the search for a theory of architecture; the establishment of a three-dimensional system of proportions named Plastic Number; and analogy as the mainspring of human thinking. This triad of deeply interconnected intellectual strategies represents his most important ‘instruments of thought’ and is rooted in the careful observation of phenomena as they are presented to us rather than relying on conventional beliefs. Van der Laan's instruments of thought lead us to reconsider the origins of human creation, urging a deeper examination of our perceptual and cognitive response to the limitlessness of the surrounding environment. On this basis, Van der Laan develops a unique philosophy of culture and design that includes considerations on the relationship between nature, culture, and religious ritual. Although this book is informative, its principal aim is to be formative. On the basis of Van der Laan’s instruments of thought, the authors develop a methodology to explore the Plastic Number theory and the many ways in which we perceive and interpret proportion. Reintroducing playful creativity and intellectual exploration into architectural pedagogy and design practice, this book is a gateway for a deeper understanding of the effects of the built environment on human behavior and the various ways in which the human mind perceives and decodes artifacts.
Frank Lloyd Wright : The Early Years : Progressivism : Aesthetics : Cities examines Wright's belief that all aspects of human life must embrace and celebrate an aesthetic experience that would thereby lead to necessary social reforms. Inherent in the theory was a belief that reform of nineteenth-century gluttony should include a contemporary interpretation of its material presence, its bulk and space, its architectural landscape. This book analyzes Wright's innovative, profound theory of architecture that drew upon geometry and notions of pure design and the indigenous as put into practice. It outlines the design methodology that he applied to domestic and non-domestic buildings and presents reasons for the recognition of two Wright Styles and a Wright School. The book also studies how his design method was applied to city planning and implications of historical and theoretical contexts of the period that surely influenced all of Wright's community and city planning.
During the years 1919 into 1925 Frank Lloyd Wright worked on four houses and a kindergarten located in metropolitan Los Angeles using concrete blocks as the main building material. The construction system has been described by Wright and others as ’uniquely molded’, ’woven like a textile fabric’ and perceived as ground breaking, truly modern, unprecedented. Many have attempted to uphold these claims while some thought the house-designs borrowed from old exotic buildings. For the first time this book brings together Wright’s declarations, the support of upholders and inferences in order to determine their accuracy and correctness, or the possibility of feigned or fictional stories. It examines technical developments of concrete blocks by Wright and others before his experiences in Los Angeles began in 1919. It also studies the manner of Wright’s design process by an examination of relevant pictorial and textual documents. A unique, in-depth and critical analysis of the houses is set within historical, biographical and theoretical contexts. Consequently, the book explains the impact upon Wright of California contemporaries, architects Irving Gill and Rudolph Schindler, and their instrumentally profound role upon the course of modernism 1907-1923. In doing so, it allows a full appreciation of Wright’s, Gill’s and Schindler’s buildings beyond their experiential qualities.
The life and thought of one of the founders of twentieth-century American design
This book offers the first full-scale examination of the architecture associated with the Arts and Crafts movement that spread throughout New England at the turn of the twentieth century. Although interest in the Arts and Crafts movement has grown since the 1970s, the literature on New England has focused on craft production. Meister traces the history of the movement from its origins in mid-nineteenth-century England to its arrival in the United States and describes how Boston architects including H. H. Richardson embraced its tenets in the 1870s and 1880s. She then turns to the next generation of designers, examining buildings by twelve of the region's most prominent architects, eleven men and a woman, who assumed leadership roles in the Society of Arts and Crafts, founded in Boston in 1897. Among them are Ralph Adams Cram, Lois Lilley Howe, Charles Maginnis, and H. Langford Warren. They promoted designs based on historical precedent and the region's heritage while encouraging well-executed ornament. Meister also discusses revered cultural personalities who influenced the architects, notably Ralph Waldo Emerson and art historian Charles Eliot Norton, as well as contemporaries who shared their concerns, such as Louis Brandeis. Conservative though the architects were in the styles they favored, they also were forward-looking, blending Arts and Crafts values with Progressive Era idealism. Open to new materials and building types, they made lasting contributions, with many of their designs now landmarks honored in cities and towns across New England.
Published in the 1920s by a who's who of avant-garde artists, G helped shape a new phase in modern art. This is the first English translation.
Drawing the Future: Chicago Architecture on the International Stage, 1900–1925 is an illustrated catalog with companion essays for an exhibition of the same name at the Mary and Leigh Block Museum of Art at Northwestern University. Drawing the Future explores the creative ferment among Chicago architects in the early twentieth century, coinciding with similar visions around the world. The essays focus on the highlights of the exhibition. David Van Zanten profiles Walter Burley Griffin and Marion Mahony Griffin, Chicago architects who created an influential, prize-winning plan for Canberra, the new capital of Australia. Ashley Dunn looks at the two exhibits at the Musée des Arts Décoratifs in Paris, one devoted to the Griffins in 1914 and the other to the French architect Tony Garnier in 1925, demonstrating the impact of World War I on city planning and architecture. Leslie Coburn examines Chicago’s Neighborhood Center Competition of 1914–15, which sought to redress gaps in Daniel Burnham’s plan of 1909. The ambition and reach of Chicago architecture in this epoch would have lasting influence on cities of the future.