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First published in 2005, An Architecture of invitation: Colin St
John Wilson is a distinctive study of the life and architectural
career of one of the most significant makers, theorists and
teachers of architecture to have emerged in England in the second
half of the twentieth century. Exceptionally in an architectural
study, this book interweaves biography, critical analysis of the
projects, and theory, in its aims of explicating the richness of
Wilson's body of work, thought and teaching. Drawing on the
specialisms of its authors, it also examines the creative and
psychological impulses that have informed the making of the work -
an oeuvre whose experiential depth is recognised by both users and
critics.
Critically examines the theme of Generosity and Architecture from a
variety of perspectives, addressing the theoretical, the
historical, and the everyday processes of architectural practice,
procurement, and policy in a global context. Includes contributions
from Ireland, USA, Canada, UK, South Africa, Australia, Israel,
France and Cyprus. Illustrated with over 100 black and white
images.
Critically examines the theme of Generosity and Architecture from a
variety of perspectives, addressing the theoretical, the
historical, and the everyday processes of architectural practice,
procurement, and policy in a global context. Includes contributions
from Ireland, USA, Canada, UK, South Africa, Australia, Israel,
France and Cyprus. Illustrated with over 100 black and white
images.
Based on extensive fieldwork, and research into John Ruskin's still
little-interpreted archival material, notebooks and drawings (in
the Ruskin Library, Lancaster University, UK and elsewhere),
Stephen Kite offers an unprecedented account of the evolution of
Ruskin's architectural thinking and observation in the context of
Italy where his watching of building achieved its greatest
intensity. Venice naturally figures large in a work that also
examines other key sites including Verona, Lucca, Pisa, Florence,
Milan and Monza; here, the fabrics are vividly read in their
contexts against the rich evidence of Ruskin's diaries, his
pocket-book sketches, architectural worksheets, drawings, and
daguerrotypes (the early form of photography), and the drafts and
published editions of the texts. Kite presents the complex story of
Ruskin's visual thinking in architecture as a narrative of
deepening interpretation and representation, focusing on the
humbler monuments of Italy. He shows how Ruskin's early picturesque
naturalism was transformed by the realisation that to understand
the built realities confronting him in Italy demanded a closer
engagement with the substance of the stones themselves; reflecting
Ruskin's sense of his task as a near-archaeological gleaning and
gathering of remains 'hidden in many a grass grown court, and
silent pathway, and lightless canal'.
Economy and Architecture addresses a timely, critical, and
much-debated topic in both its historical and contemporary
dimensions. From the Apple Store in New York City, to the street
markets of the Pan American Highway; from commercial Dubai to the
public schools of Australia, this book takes a critical look at
contemporary architecture from across the globe, whilst extending
its range back in history as far as the Homeric epics of ancient
Greece. The book addresses the challenges of practicing
architecture within the strictures of contemporary economies,
grounded on the fundamental definition of 'economy' as the well
managed household - derived from the Greek oikonomia - oikos
(house) and nemein (manage). The diverse enquiries of the study are
structured around the following key questions: How do we define our
economies? How are the values of architecture negotiated among the
various actors involved? How do we manage the production of a good
architecture within any particular system? How does political
economy frame and influence architecture? The majority of examples
are taken from current or recent architectural practice; historical
examples, which include John Evelyn's villa, Blenheim Palace, John
Ruskin's Venice, and early twentieth century Paris, place the
debates within an extended critical perspective.
Based on extensive fieldwork, and research into John Ruskin's still
little-interpreted archival material, notebooks and drawings (in
the Ruskin Library, Lancaster University, UK and elsewhere),
Stephen Kite offers an unprecedented account of the evolution of
Ruskin's architectural thinking and observation in the context of
Italy where his watching of building achieved its greatest
intensity. Venice naturally figures large in a work that also
examines other key sites including Verona, Lucca, Pisa, Florence,
Milan and Monza; here, the fabrics are vividly read in their
contexts against the rich evidence of Ruskin's diaries, his
pocket-book sketches, architectural worksheets, drawings, and
daguerrotypes (the early form of photography), and the drafts and
published editions of the texts. Kite presents the complex story of
Ruskin's visual thinking in architecture as a narrative of
deepening interpretation and representation, focusing on the
humbler monuments of Italy. He shows how Ruskin's early picturesque
naturalism was transformed by the realisation that to understand
the built realities confronting him in Italy demanded a closer
engagement with the substance of the stones themselves; reflecting
Ruskin's sense of his task as a near-archaeological gleaning and
gathering of remains 'hidden in many a grass grown court, and
silent pathway, and lightless canal'.
Adrian Stokes: An Architectonic Eye
First published in 2005, An Architecture of invitation: Colin St
John Wilson is a distinctive study of the life and architectural
career of one of the most significant makers, theorists and
teachers of architecture to have emerged in England in the second
half of the twentieth century. Exceptionally in an architectural
study, this book interweaves biography, critical analysis of the
projects, and theory, in its aims of explicating the richness of
Wilson's body of work, thought and teaching. Drawing on the
specialisms of its authors, it also examines the creative and
psychological impulses that have informed the making of the work -
an oeuvre whose experiential depth is recognised by both users and
critics.
Economy and Architecture addresses a timely, critical, and
much-debated topic in both its historical and contemporary
dimensions. From the Apple Store in New York City, to the street
markets of the Pan American Highway; from commercial Dubai to the
public schools of Australia, this book takes a critical look at
contemporary architecture from across the globe, whilst extending
its range back in history as far as the Homeric epics of ancient
Greece. The book addresses the challenges of practicing
architecture within the strictures of contemporary economies,
grounded on the fundamental definition of 'economy' as the well
managed household - derived from the Greek oikonomia - oikos
(house) and nemein (manage). The diverse enquiries of the study are
structured around the following key questions: How do we define our
economies? How are the values of architecture negotiated among the
various actors involved? How do we manage the production of a good
architecture within any particular system? How does political
economy frame and influence architecture? The majority of examples
are taken from current or recent architectural practice; historical
examples, which include John Evelyn's villa, Blenheim Palace, John
Ruskin's Venice, and early twentieth century Paris, place the
debates within an extended critical perspective.
Shaping the Surface explores the history of modern British
architecture through the lens of surface, materiality and
decoration. Picking up on a trait that art historian Nikolaus
Pevsner first identified as a 'national mania for beautiful surface
quality', this book makes a new contribution to architectural
history and visual culture in its detailed examination of the
surfaces of British architecture from the middle of the 19th
century up to the turn of the 21st century. Tracing this continuing
sensibility to surface all the way through to the modern era, it
explores how and why surface and materiality have featured so
heavily in recent architectural tradition, examining the history of
British architecture through a selection of key cultural moments
and movements from Romanticism and the Arts and Crafts, to
Brutalism, High-Tech, Post-Modernism, Neo-Vernacular, and the New
Materiality. Embedded within the narrative is the question of
whether such national characters can exist in architecture at all -
and indeed the extent to which it is possible to identify a British
architectural consciousness in an architectural tradition
characterised by its continuous importation of theories, ideas,
materials and people from around the globe. Shaping the Surface
provides a deep critique and meditation on the importance of
surface and materiality for architects, designers, and historians
everywhere - in Britain and beyond - while it also serves as a
thematic introduction to modern British architectural history, with
in-depth readings of the works of many key British architects,
artists, and critics from Ruskin and William Morris to Alison and
Peter Smithson, Eduardo Paolozzi, Richard Rogers and Caruso St
John.
The making of shadows is an act as old as architecture itself. From
the gloom of the medieval hearth through to the masterworks of
modernism, shadows have been an essential yet neglected presence in
architectural history. Shadow-Makers tells for the first time the
history of shadows in architecture. It weaves together a rich
narrative - combining close readings of significant buildings both
ancient and modern with architectural theory and art history - to
reveal the key places and moments where shadows shaped architecture
in distinctive and dynamic ways. It shows how shadows are used as
an architectural instrument of form, composition, and visual
effect, while also exploring the deeper cultural context - tracing
differing conceptions of their meaning and symbolism, whether as
places of refuge, devotion, terror, occult practice, sublime
experience or as metaphors of the unconscious. Within a
chronological framework encompassing medieval, baroque,
enlightenment, sublime, picturesque, and modernist movements, a
wide range of topics are explored, from Hawksmoor's London
churches, Japanese temple complexes and the shade-patterns of
Islamic cities, to Ruskin in Venice and Aldo Rossi and Louis Kahn
in the 20th century. This beautifully-illustrated study seeks to
understand the work of these shadow-makers through their drawings,
their writings, and through the masterpieces they built.
Shaping the Surface explores the history of modern British
architecture through the lens of surface, materiality and
decoration. Picking up on a trait that art historian Nikolaus
Pevsner first identified as a 'national mania for beautiful surface
quality', this book makes a new contribution to architectural
history and visual culture in its detailed examination of the
surfaces of British architecture from the middle of the 19th
century up to the turn of the 21st century. Tracing this continuing
sensibility to surface all the way through to the modern era, it
explores how and why surface and materiality have featured so
heavily in recent architectural tradition, examining the history of
British architecture through a selection of key cultural moments
and movements from Romanticism and the Arts and Crafts, to
Brutalism, High-Tech, Post-Modernism, Neo-Vernacular, and the New
Materiality. Embedded within the narrative is the question of
whether such national characters can exist in architecture at all -
and indeed the extent to which it is possible to identify a British
architectural consciousness in an architectural tradition
characterised by its continuous importation of theories, ideas,
materials and people from around the globe. Shaping the Surface
provides a deep critique and meditation on the importance of
surface and materiality for architects, designers, and historians
everywhere - in Britain and beyond - while it also serves as a
thematic introduction to modern British architectural history, with
in-depth readings of the works of many key British architects,
artists, and critics from Ruskin and William Morris to Alison and
Peter Smithson, Eduardo Paolozzi, Richard Rogers and Caruso St
John.
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