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Books > Arts & Architecture > History of art / art & design styles > General
In architecture, composition refers to the conception of a building
according to principles of regularity and hierarchy, or according
to the principles of obtaining equilibrium. However, it is not
until the beginning of the nineteenth century that the notion of
composition becomes truly associated with architectural conception,
notably under the influence of Jean-Nicolas-Louis Durand and his
statement on the Marche a suivre dans la composition d'un project
quelconque [Procedure to be followed in the composition of any
project]. The concept quickly erodes during the twentieth century,
with the adoption of neutral architectural devices, the use of
aggregative processes, and the adoption of "objective" operations,
all of which can be understood as an attempt to move beyond
compositional principles. In Composition, Non-Composition, Jacques
Lucan invites his readers to consider this novel historical
perspective of architectural theory. The author describes the
interaction of ideas that often clash with one another, with some
that fade away as others emerge, thus offering invaluable keys to
understanding contemporary architecture. Although this book is
primarily addressed to students of architecture, it will also
appeal to architects, historians of architecture, as well as to the
interested public.
Faking It! collects eleven chapters which explore the question of
forgery from different disciplinary angles: literary historical and
art historical contributions share space with discussions of
jewels, architecture and coinage. The various case studies take as
their focus developments in Renaissance Italy and Early Modern
England as well as in France, Germany, Malta, Denmark, Sweden,
Iceland, Russia and Australia. While each chapter contributes to a
better understanding of the local context of cultural production,
together they suggest new answers to how we can understand forgery.
The concept of performance allows us to see beyond normative
approaches and gain insight into some of the ambiguities concerning
the nature of forgery. Contributors include: Brian Boeck, Federica
Boldrini, Patricia Pires Boulhosa, Laurent Curelly, Helen Hughes,
Jacqueline Hylkema, Philip Lavender, Lorenzo Paoli, Ingrid D.
Rowland, Camilla Russo, and Ksenija Tschetschik-Hammerl.
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