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"A balance of sophistication and clarity in the writing, authoritative entries, and strong cross-referencing that links archtects and structures to entries on the history and theory of the profession make this an especially useful source on a century of the world's most notable architecture. The contents feature major architects, firms, and professional issues; buildings, styles, and sites; the architecture of cities and countries; critics and historians; construction, materials, and planning topics; schools, movements, and stylistic and theoretical terms. Entries include well-selected bibliographies and illustrations."--"Reference that rocks," American Libraries, May 2005.
First published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
At a time dominated by the disappearance of Future, as claimed by the French anthropologist Marc Augé, Utopia and Religion seem to be two different ways of giving back an inner horizon to mankind. Therefore this book, on the one hand, considers the importance of utopia as a tool and how it offers an economic and social resource to improve cities’ wealth, future and livability. On the other, it explores the impact of religious and cultural ideals on cities that have recently emerged in this context. Based on numerous observations, the book examines the intellectual legacy of utopian theory and practices across various academic disciplines. It also presents discussions, theories, and case studies addressing a range of issues and topics related to utopia.
Robin Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. Anyone reviewing the history of architectural theory, Robin Evans observes, would have to conclude that architects do not produce geometry, but rather consume it. In this long-awaited book, completed shortly before its author's death, Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. He shows that geometry does not always play a stolid and dormant role but, in fact, may be an active agent in the links between thinking and imagination, imagination and drawing, drawing and building. He suggests a theory of architecture that is based on the many transactions between architecture and geometry as evidenced in individual buildings, largely in Europe, from the fifteenth to the twentieth century. From the Henry VII chapel at Westminster Abbey to Le Corbusier's Ronchamp, from Raphael's S. Eligio and the work of Piero della Francesca and Philibert Delorme to Guarino Guarini and the painters of cubism, Evans explores the geometries involved, asking whether they are in fact the stable underpinnings of the creative, intuitive, or rhetorical aspects of architecture. In particular he concentrates on the history of architectural projection, the geometry of vision that has become an internalized and pervasive pictorial method of construction and that, until now, has played only a small part in the development of architectural theory. Evans describes the ambivalent role that pictures play in architecture and urges resistance to the idea that pictures provide all that architects need, suggesting that there is much more within the scope of the architect's vision of a project than what can be drawn. He defines the different fields of projective transmission that concern architecture, and investigates the ambiguities of projection and the interaction of imagination with projection and its metaphors.
Czech Cubism is the most complete realization of the cubist movement in the arts, and this exhaustive catalogue for an exhibition begun in 1991 at the Museum of Decorative Arts, Prague, and concluding at the Cooper-Hewitt Museum, New York, April-August 1993, presents an extraordinary collection thro
The canonical inventors of International Style have long dominated studies of modern European architecture. But in this text, Anthony Alofsin broadens this scope by exploring the rich yet overlooked architecture of the late Austro-Hungarian Empire and its successor states.
Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics