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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.
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 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.
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.
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