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Chinese Architecture and the Beaux-Arts
In the early twentieth century, Chinese traditional architecture and the French-derived methods of the École des Beaux-Arts converged in the United States when Chinese students were given scholarships to train as architects at American universities whose design curricula were dominated by Beaux-Arts methods. Upon their return home in the 1920s and 1930s, these graduates began to practice architecture and create China’s first architectural schools, often transferring a version of what they had learned in the U.S. to Chinese situations. The resulting complex series of design-related transplantations had major implications for China between 1911 and 1949, as it simultaneously underwent catac...
The Secrets of Architectural Composition
Well arranged, logical, and aptly illustrated, this classic survey covers every aspect of the design process. It addresses architectural principles as well as their practical application, examining general questions of scale, balance, proportion, and symmetry and presenting detailed treatments of doors, windows, walls, stairways, columns, and other features. Long acknowledged as a valuable resource for students and teachers alike, this volume is unsurpassed in terms of the richness of its material and the consistency of its insights. It was written by Nathaniel Cortlandt Curtis, an influential designer and artist who served as the head of the Tulane School of Architecture. Curtis illustrated his work with nearly 250 line drawings that depict architectural elements from a splendid variety of periods and settings, from ancient Rome's temples and palaces to modern-day hotels and museums of Paris and New York.
The Irish Digest
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Composition, non-composition
En architecture, composer signifie concevoir un bâtiment selon des principes de régularité et de hiérarchie, ou selon des principes de mise en équilibre. Toutefois; ce n'est qu'à partir du XIXe siècle que la composition désigne véritablement la conception architecturale, notamment grâce à Jean-Nicolas-Louis Durant et son énonciation de la "Marche à suivre dans la composition d'un projet quelconque". Le concept s'érode rapidement au cours du XXe siècle, l'adoption de dispositifs architecturaux neutres, le recours à des processus agrégatifs, le développement d'opérations "objectives" constituant autant de tentatives de dépassement des principes compositionnels. C'est à cette histoire inédite des théories architecturales qu'invite Composition, non-composition. L'ouvrage permet de comprendre les enjeux d'attitudes qui souvent s'opposent, l'effacement de certaines conceptions, l'émergence de nouvelles, et il donne des clefs de lecture originales pour comprendre l'architecture contemporaine. Il constitue à ce titre une référence didactique pour les étudiants en architecture, ainsi que pour tous les architectes et historiens concernés.
