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"Byzantine art abandoned classical ideals in favor of formulas that conveyed spiritual concepts through stylized physical forms. Previous scholarship dealing with Byzantine icons has been largely focused on depictions of holy figures, dismissing representations of architecture as irrelevant space-filling background. Architecture as Icon demonstrates that background representations of architecture are meaningful, active components of compositions, often as significant as the holy figures. The book provides a critical view for understanding the Byzantine conception of architectural forms and space and the corresponding intellectual underpinnings of their representation." "Architecture as Icon features four thought-provoking essays. The catalogue groups the material into four categories: generic, specific, and symbolic representations, culminating in a final grouping entitled "Jerusalem." Handsomely designed and illustrated, this volume addresses various approaches to depicting architecture in Byzantine art that contrast sharply with those of the Renaissance and Western artistic tradition." --Book Jacket.
Icons of Sound: Voice, Architecture, and Imagination in Medieval Art brings together art history and sound studies to offer new perspectives on medieval churches and cathedrals as spaces where the perception of the visual is inherently shaped by sound. The chapters encompass a wide geographic and historical range, from the fifth to the fifteenth century, and from Armenia and Byzantium to Venice, Rome, and Santiago de Compostela. Contributors offer nuanced explorations of the intangible sonic aura produced in these places by the ritual music and harness the use of digital technology to reconstruct historical aural environments. Rooted in a decade-long interdisciplinary research project at Stanford University, Icons of Sound expands our understanding of the inherently intertwined relationship between medieval chant and liturgy, the acoustics of architectural spaces, and their visual aesthetics. Together, the contributors provide insights that are relevant across art history, sound studies, musicology, and medieval studies.
Mute Icons challenges fixed aesthetic notions of beauty in architecture as both, disciplinary discourse and a spatial practice within the public realm, by intersecting historic antecedents and present instances within contemporary projects wherein indeterminacy, monolithicity and defamiliarization play a speculative role in constructing withdrawn, irritant and yet engaging architectural images. No longer concerned with narrative excesses or with the "shock and awe" of sensation making; the mute icon becomes intriguing in its deceptive indifference towards context, perplexing in its unmitigated apathy towards the body. Object and building, absolute and unstable, anticipated and strange, manifest and withdrawn, such is the dichotomy of mute icons. Dwelling in the paradox between silence and sign and aiming to debunk a false dichotomy between critical discourse, a pursue of formal novelty and the attainment of social ethics, “Mute Icons” reaffirms the cultural need and socio-political relevance of the architectural image, suggesting a much-needed resolution to the present but incorrect antagonism between formal innovation, social responsibility and economic austerity. Intersecting relevant historical antecedents and polemic theoretical speculations with original design concepts and provocative representations of P-A-T-T-E-R-N-S recent work, the book aspires to stimulate authentic speculations on the real.
“This book is not for you. It is not for architectural academic elites. It is not for those who have gentrified our neighborhoods, overly intellectualized the profession, and ignored all contemporary Black theory within the discipline. You have made architecture a symbol of exclusion, oppression, and domination rather than expression, aspiration, and inspiration. This book is not for conformists-Black, White, or other.” As architecture grapples with its own racist legacy, Hip-Hop Architecture outlines a powerful new manifesto-the voice of the underrepresented, marginalized, and voiceless within the discipline. Exploring the production of spaces, buildings, and urban environments that embody the creative energies in hip-hop, it is a newly expanding design philosophy which sees architecture as a distinct part of hip-hop's cultural expression, and which uses hip-hop as a lens through which to provoke new architectural ideas. Examining the present and the future of Hip-Hop Architecture, the book also explores its historical antecedents and its theory, placing it in a wider context both within architecture and within Black and African American movements. Throughout, the work is illustrated with inspirational case studies of architectural projects and creative practices, and interspersed with interludes and interviews with key architects, designers, and academics in the field. This is a vital and provocative work that will appeal to architects, designers, students, theorists, and anyone interested in a fresh view of architecture, design, race and culture. Includes Foreword by Michael Eric Dyson.
In the most comprehensive investigation of the Los Angeles Public Library’s early history and architectural genesis ever undertaken, Kenneth Breisch chronicles the institution’s first six decades, from its founding as a private library association in 1872 through the completion of the iconic Central Library building in 1933. During this time, the library evolved from an elite organization ensconced in two rooms in downtown LA into one of the largest public library systems in the United States—with architect Bertram Grosvenor Goodhue’s building, a beloved LA landmark, as its centerpiece. Goodhue developed a new style, fully integrating the building’s sculptural and epigraphic program with its architectural forms to express a complex iconography. Working closely with sculptor Lee Oskar Lawrie and philosopher Hartley Burr Alexander, he created a great civic monument that, combined with the library’s murals, embodies an overarching theme: the light of learning. “A building should read like a book, from its title entrance to its alley colophon,” wrote Alexander—a narrative approach to design that serves as a key to understanding Goodhue’s architectural gem. Breisch draws on a wealth of primary source material to tell the story of one of the most important American buildings of the twentieth century and illuminates the formation of an indispensible modern public institution: the American public library.
What turns a building into an icon? What is it about some structures that makes their history and legend even more important than their original intended use, making them a part of American, and world, popular culture? Twenty four buildings and structures, including the Brooklyn Bridge, the White House, the Hotel del Coronado, and the Washington Monument are presented here, along with their roles in fiction, film, music, and the imagination of people worldwide. Approximately twenty five images are included in the set, along with sidebars featuring additional structures.
This book brings together complex fields of knowledge and globally splintered discourses on a subject that is experienced not only by scholars, but in the everyday lives of people around the world. There is a common complaint about the loss of identity which, to a substantial degree, is being associated with the built environment in cities and specifically with their architecture. "Architecture and Identity" takes a global, multidisciplinary look on how identities in contemporary architecture are constructed. The general hypothesis underlying this book is that in a globalized world identity in architecture cannot be easily derived from distinct indigenous patterns. The book presents forty contributions from various disciplines aiming to destroy the myth of an inheritable or otherwise prefabricated identity. Some authors dismantle constructs of identity that have long been considered as "solid" and unbreakable while others meticulously unravel the "construction" process of identities in
Icons of Space: Advances in Hierotopy brings together important scholars of Byzantine religion, art, and architecture, to honour the work of renowned art historian Alexei Lidov. As well as his numerous publications, Lidov is well known for developing the concept of hierotopy, an innovative approach for studying the creation of sacred spaces. Hierotopy and the related concepts of ‘spatial icons’ and ‘image-paradigms’ emphasize fundamental questions about icons, including what defines them as structures, spaces, and experiences. Chapters in this volume engage with the overarching theme of icons of space by employing, contrasting, and complementing methods of hierotopy with more traditional approaches such as iconography. Examinations of icons have traditionally been positioned within strictly historical, theological, socio-economic, political, and art history domains, but this volume poses epistemological questions about the creation of sacred spaces that are instead inclusive of multi-layered iconic ideas and the lived experiences of the creators and beholders of such spaces. This book contributes to image theory and theories of architecture and sacred space. Simultaneously, it moves beyond colonial studies that predominantly focus on questions of religion and politics as expressions of privileged knowledge and power. This book will appeal to scholars and students of Byzantine history, as well as those interested in hierotopy and art history.
Theorizing a New Agenda for Architecture: An Anthology of ArchitecturalTheory collects in a single volume the most significant essays on architectural theory of the last thirty years. A dynamic period of reexamination of the discipline, the postmodern eraproduced widely divergent and radical viewpoints on issues of making, meaning, history, and the city. Among the paradigms presented arearchitectural postmodernism, phenomenology, semiotics, poststructuralism, deconstruction, and feminism. By gathering these influential articles from a vast array of books and journals into a comprehensive anthology, Kate Nesbitt has created a resource of great value. Indispensable to professors and students of architecture and architectural theory, Theorizing a New Agenda also serves practitioners and the general public, as Nesbitt provides an overview, a thematic structure, and a critical introduction to each essay. The list of authors in Theorizing a New Agenda reads like a "Who's Who" of contemporary architectural thought: Tadao Ando, Giulio Carlo Argan, Alan Colquhoun, Jacques Derrida, Peter Eisenman, Marco Frascari, Kenneth Frampton, Diane Ghirardo, Vittorio Gregotti, Karsten Harries, Rem Koolhaas, Christian Norberg-Schulz, Aldo Rossi, Colin Rowe, Thomas Schumacher, Ignasi de Sol-Morales Rubi, Bernard Tschumi, Robert Venturi and Denise Scott Brown, and Anthony Vidler. A bibliography and notes on all the contributors are also included.