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Style in the Technical and Tectonic Arts, Or, Practical Aesthetics
The enduring influence of the architect Gottfried Semper (1803-1879) derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Künsten (1860-62), here translated into English for the first time. A richly illustrated survey of the technical arts (textiles, ceramics, carpentry, masonry), Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each medium. Thus, in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety. Harry Francis Mallgrave's introductory essay offers an account of Semper's life and work, a survey of Der Stil, and a fresh consideration of Semper's landmark study and its lasting significance.
The Architect's Brain
The Architect's Brain: Neuroscience, Creativity, and Architecture is the first book to consider the relationship between the neurosciences and architecture, offering a compelling and provocative study in the field of architectural theory. Explores various moments of architectural thought over the last 500 years as a cognitive manifestation of philosophical, psychological, and physiological theory Looks at architectural thought through the lens of the remarkable insights of contemporary neuroscience, particularly as they have advanced within the last decade Demonstrates the neurological justification for some very timeless architectural ideas, from the multisensory nature of the architectural experience to the essential relationship of ambiguity and metaphor to creative thinking
History of Architectural Theory
As the first comprehensive encyclopedic survey of Western architectural theory from Vitruvius to the present, this book is an essential resource for architects, students, teachers, historians, and theorists. Using only original sources, Kruft has undertaken the monumental task of researching, organizing, and analyzing the significant statements put forth by architectural theorists over the last two thousand years. The result is a text that is authoritative and complete, easy to read without being reductive.
Introducing Architectural Tectonics
Introducing Architectural Tectonics is an exploration of the poetics of construction. Tectonic theory is an integrative philosophy examining the relationships formed between design, construction, and space while creating or experiencing a work of architecture. In this text, author Chad Schwartz presents an introductory investigation into tectonic theory, subdividing it into distinct concepts in order to make it accessible to beginning and advanced students alike. The book centers on the tectonic analysis of twenty contemporary works of architecture located in eleven countries including Germany, Italy, United States, Chile, Japan, Bangladesh, Spain, and Australia and designed by such notable ...
In What Style Should We Build?
Hubsch's argument that the technical progress and changed living habits of the nineteenth century rendered neoclassical principles antiquated is presented here along with responses to his essay by architects, historians, and critics over two decades.
Surface and Deep Histories
Surface in architecture has had a deeper and a more pervasive presence in the practice and theory of the discipline than is commonly supposed. Orientations to the surface emerge, collapse, and reappear, sustaining it as a legitimate theoretical and artefactual entity, despite the (twentieth-century) disciplinary definition of architecture as space, structure, and function. Even though surface is defended for its pervasiveness (Kurt Forster), its function as a theoretical motif with generative power (Andrew Benjamin), and in constituting the operative principles of modern architecture as a visual phenomenon (Mark Wigley), it occupies the interstice, or the space of the unconscious within arch...
The Mental Life of the Architectural Historian
Starting with the question concerning the discursive formation of architectural history, the chapters compiled in this book attempt to re-read the historiography of early modern architecture from the point of view of the theoretical work produced since the post-war era. Central to the objectives of the argument are the ways in which, firstly, architectural history differs from the traditions of art history, and, secondly, that the historical narrative works its autonomy through theoretical representation, the discursive flow of which is interrupted by the historian’s urge to support arguments with references to buildings, texts, drawings, and historical events. The historians discussed in ...
"Textiles, Fashion, and Design Reform in Austria-Hungary Before the First World War "
Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-si?e culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Euro...
Tectonic Affects in Contemporary Architecture
Tectonics is an old, ontological concept which simultaneously claims to cover the aesthetics/meaning and the technological/technical in architecture. However, since the advent of ‘modernity’, the relationship between architecture and building technology has been problematic. Some of these problems, which are reflected in the theories of architecture and tectonics, relate to the separation of the technology/technical dimension from the aesthetic/artistic, rendering one of them dominant over the other. This book explores the tectonic affects in architecture because these do not separate building technology and aesthetics or meaning. Affects are preconscious aesthetic feelings which can cause meanings if we start thinking about these affects. The book claims that tectonic affects can generate aesthetic value and meaning. It adopts a practical position towards architectural aesthetics and meaning, and concentrates on tectonic affects.
