In his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic spirals: Tatlin's Monument to the Third International and Borromini's dome for Sant'Ivo alla Sapienza. The values shared between the baroque age and the modern were thus encapsulated on a single page spread. As Giedion put it, writing of Sant'Ivo, Borromini accomplished 'the movement of the whole pattern [...] from the ground to the lantern, without entirely ending even there.' And yet he merely 'groped' towards that which could 'be completely effected' in modern architecture-achieving 'the transition between inner and outer space.' The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It considers the varied ways that historians of art and architecture have historicized modern architecture through its interaction with the baroque: a term of contested historical and conceptual significance that has often seemed to shadow a greater contest over the historicity of modernism. Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.

Italian architecture has long exerted a special influence on the evolution of architectural ideas elsewhere - from the Beaux-Arts academy’s veneration of Rome, to modernist and postmodern interest in Renaissance proportion, Baroque space, and Mannerist ambiguity. This book critically examines this enduring phenomenon, exploring the privileged position of Italian architects, architecture, and cities in the architectural culture of the past century. Questioning the deep-rooted myth of Italy within architectural history, the book presents case studies of Italy’s powerful yet problematic position in 20th-century architectural ideologies, at a time when established Eurocentric narratives are rightly being challenged. It reconciles the privileged position of Italian architecture and design with the imperative to write history across a more global, diverse, heterogenous cultural geography. Twenty chapters from distinguished international scholars cover subjects and architects ranging from Alberti to Gio Ponti, Aldo Rossi, Manfredo Tafuri, Vittorio Gregotti; cities from Rome and Venice to Milan; and an array of international architects, movements, and architectural ideas influenced by Italy. The chapters each question where, how, and why the disciplinary edifice of 20th-century architecture—its canon of built, visual, textual, and conceptual works—relied on Italian foundations, examining where and how those foundations have become insecure. Indispensable for students and scholars of both Italian and global architectural history, Italian Imprints on Twentieth-Century Architecture provides an opportunity to consider the architectural and urban landscape of Italy from substantially new points of view.

Examining discomfort's physical, emotional, conceptual, psychological and aesthetic dimensions, the contributors to this volume offer an alternate, cultural approach to the study of architecture and the built environment. By attending to a series of disparate instances in which architecture and discomfort intersect, On Discomfort offers a fresh reading of the negotiations that define architecture's position in modern culture. The essays do not chart comfort's triumph so much as discomfort's curious dispersal into practices that form 'modern life' - and what that dispersion reveals of both architecture and culture. The essays presented in this volume illuminate the material culture of discomfort as it accrues to architecture and its history. This episodic analysis speaks to a range of disciplinary fields and interdisciplinary subjects, extending our understanding of the domestication of interiors (and objects, cities and ideas); and the conditions under which - by intention or accident - they discomfort.

In his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic spirals: Tatlin's Monument to the Third International and Borromini's dome for Sant'Ivo alla Sapienza. The values shared between the baroque age and the modern were thus encapsulated on a single page spread. As Giedion put it, writing of Sant'Ivo, Borromini accomplished 'the movement of the whole pattern [...] from the ground to the lantern, without entirely ending even there.' And yet he merely 'groped' towards that which could 'be completely effected' in modern architecture-achieving 'the transition between inner and outer space.' The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It considers the varied ways that historians of art and architecture have historicized modern architecture through its interaction with the baroque: a term of contested historical and conceptual significance that has often seemed to shadow a greater contest over the historicity of modernism. Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.

A two-volume boxset facsimile of the first printing of Complexity and Contradiction paired with a compendium of new scholarship on and around Robert Venturi’s seminal treatise.

First published in 1966, this remarkable book by Robert Venturi has become an essential document in architectural literature. This two-volume boxed set presents a facsimile of the first printing of Complexity and Contradiction paired with a compendium of new scholarship on and around Venturi’s seminal treatise. Ten essays and a selection of original papers – introduced at a three-day international conference co-organized by MoMA to celebrate the fiftieth anniversary of the book – address diverse issues, such as the book’s relationship to Venturi’s own built oeuvre and its significance in the contemporary landscape. Together, these volumes expand the horizons of Venturi’s original ideas on creating and experiencing architecture.

Examining discomfort's physical, emotional, conceptual, psychological and aesthetic dimensions, the contributors to this volume offer an alternate, cultural approach to the study of architecture and the built environment. By attending to a series of disparate instances in which architecture and discomfort intersect, On Discomfort offers a fresh reading of the negotiations that define architecture's position in modern culture. The essays do not chart comfort's triumph so much as discomfort's curious dispersal into practices that form 'modern life' - and what that dispersion reveals of both architecture and culture. The essays presented in this volume illuminate the material culture of discomfort as it accrues to architecture and its history. This episodic analysis speaks to a range of disciplinary fields and interdisciplinary subjects, extending our understanding of the domestication of interiors (and objects, cities and ideas); and the conditions under which - by intention or accident - they discomfort.

The school has been at the forefront of wave after wave of innovation in architectural education and practice; and a formative influence in the development of architectural science, urban planning, computer-aided design, environmentally and socially sustainable design, and more. The story of an institution, with all its specificity, Sydney School reflects on broader transformations in the education of architects, designers, and planners and the many specialisations that gather around these professions.

Italian architecture has long exerted a special influence on the evolution of architectural ideas elsewhere - from the Beaux-Arts academy's veneration of Rome, to modernist and postmodern interest in Renaissance proportion, Baroque space, and Mannerist ambiguity. This book critically examines this enduring phenomenon, exploring the privileged position of Italian architects, architecture, and cities in the architectural culture of the past century. Questioning the deep-rooted myth of Italy within architectural history, the book presents case studies of Italy's powerful yet problematic position in 20th-century architectural ideologies, at a time when established Eurocentric narratives are rightly being challenged. It reconciles the privileged position of Italian architecture and design with the imperative to write history across a more global, diverse, heterogenous cultural geography. Twenty chapters from distinguished international scholars cover subjects and architects ranging from Alberti to Gio Ponti, Aldo Rossi, Manfredo Tafuri, Vittorio Gregotti; cities from Rome and Venice to Milan; and an array of international architects, movements, and architectural ideas influenced by Italy. The chapters each question where, how, and why the disciplinary edifice of 20th-century architecture-its canon of built, visual, textual, and conceptual works-relied on Italian foundations, examining where and how those foundations have become insecure. Indispensable for students and scholars of both Italian and global architectural history, Italian Imprints on Twentieth-Century Architecture provides an opportunity to consider the architectural and urban landscape of Italy from substantially new points of view.

The monograph addresses a canonical problem in linear water wave theory, through the development-detailed, asymptotic analysis of contour integrals in the complex plane. It is anticipated that the methodology developed in the monograph will have applications to many associated linear wave evolution problems, to which the reader may adapt the approach developed in the monograph. The approach adopted in the monograph is novel, and there are no existing publications for comparison.