The Future of Classicism by Clive Aslet
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Classicism, Modernism, Postmodernism, and Importance of Communication
Classicism, Modernism, Postmodernism, and Importance of Communication Taylor Stevenson Art History II Prof Jason Bernagozzi Midterm Exam March 09, 2016 Art and societies have long since been integrated, with both realms reflecting each other through understandings, values, and ideas. When either realm changes its ideologies, the other realm tends to reflect those changes in a similar form. This is prevalent in the understanding of art movements over the course of history, especially with three periods of art: Classicism, Modernism, and Post Modernism. Through these art movement periods, we can see how ideologies of the artist have evolved from working for other professions that use art as a means to an end, to using art as a way to communicate their own ideas, to creating art for the viewer to decide on the meaning. Many artworks that were taken from (or inspired by) Greek and Roman cultural art are considered to be classical. This may be because at this point in time, the societies behind these works of art have established an aesthetic standard that serves as a fundamental basis for other art movements. The Editors of Encyclopædia Britannica note “’classic’ is also sometimes used to refer to a stage of development that some historians have identified as a regular feature of what they have seen as the cyclical development of all styles.” When applied to art (especially art in the western/European world), these “classic” greek and roman roots placed emphasis on a realistic form, and line over color in two dimensional pieces1. Sculptures of these times, while considered important, did not necessarily translate into the aesthetic view of the next generation. -
An Introduction to Architectural Theory Is the First Critical History of a Ma Architectural Thought Over the Last Forty Years
a ND M a LLGR G OOD An Introduction to Architectural Theory is the first critical history of a ma architectural thought over the last forty years. Beginning with the VE cataclysmic social and political events of 1968, the authors survey N the criticisms of high modernism and its abiding evolution, the AN INTRODUCT rise of postmodern and poststructural theory, traditionalism, New Urbanism, critical regionalism, deconstruction, parametric design, minimalism, phenomenology, sustainability, and the implications of AN INTRODUCTiON TO new technologies for design. With a sharp and lively text, Mallgrave and Goodman explore issues in depth but not to the extent that they become inaccessible to beginning students. ARCHITECTURaL THEORY i HaRRY FRaNCiS MaLLGRaVE is a professor of architecture at Illinois Institute of ON TO 1968 TO THE PRESENT Technology, and has enjoyed a distinguished career as an award-winning scholar, translator, and editor. His most recent publications include Modern Architectural HaRRY FRaNCiS MaLLGRaVE aND DaViD GOODmaN Theory: A Historical Survey, 1673–1968 (2005), the two volumes of Architectural ARCHITECTUR Theory: An Anthology from Vitruvius to 2005 (Wiley-Blackwell, 2005–8, volume 2 with co-editor Christina Contandriopoulos), and The Architect’s Brain: Neuroscience, Creativity, and Architecture (Wiley-Blackwell, 2010). DaViD GOODmaN is Studio Associate Professor of Architecture at Illinois Institute of Technology and is co-principal of R+D Studio. He has also taught architecture at Harvard University’s Graduate School of Design and at Boston Architectural College. His work has appeared in the journal Log, in the anthology Chicago Architecture: Histories, Revisions, Alternatives, and in the Northwestern University Press publication Walter Netsch: A Critical Appreciation and Sourcebook. -
Institute of Classical Architecture & Art PRIVATE LONDON May 22 – 27
Institute of Classical Architecture & Art PRIVATE LONDON May 22 – 27, 2019 Arranged by Classical Excursions Spencer House, St. James Place. Photo: Wikipedia. OVER THE YEARS the Institute of Classical Architecture & Art in collaboration with Classical Excursions has sponsored extraordinary and inspiring classical architectural tours held throughout England, Scotland and Ireland. Turning to the UK’s world-renowned capital, we invite you to join us for several exceptional days touring Private London, May 22 – 27, 2019. The great and diverse city with lasting imperial connotations, as well as a major financial and trade center developed over centuries, is the background for a wealth of superb traditional architecture and design. With this in mind, the tour will take in an array of important sites, from opulent city residences to creative designer flats. Having led two highly successful architectural tours for ICAA, Clive Aslet, renowned architectural historian, author of twenty books, journalist and former editor-in-chief of Country Life magazine, will carry on with the six-day London tour. Special events including private dinners will take place at such sites as the fabulous Sir John Soane’s Museum; spectacular Syon House; House of St. Barnabas Club, a building dating from the 1740s with its fine example of English Rococo-style plasterwork, and the Camden home of architect John and Erica Simpson. Overnight accommodations have been arranged at the historic, newly refurbished, five-star Dukes Hotel located on St. James Square in the heart of elegant Mayfair. SELECTED HIGHLIGHTS Belonging to the family whose daughter was Diana, Princess of Wales, Spencer House at St. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
Prospectus 2006.1.Indd
I•N•T•B•A•U International Network for Traditional Building, Architecture & Urbanism Patron: His royal highness THE PRINCE OF WALES P ro s p e c t u s Dr Matthew Hardy • Aura Neag London • May 2006 Produced by Dr Matthew Hardy and Aura Neag for the International Network for Traditional Building Architecture & Urbanism © INTBAU 2006 all rights reserved # Contents Char ter A personal message from our Patron, His Royal Highness The Prince of Wales 1. Introduction 1.1 INTBAU 1.2 Need for INTBAU 1.3 Support for INTBAU 1.4 Charter 1.5 Committee of Honour 1.6 Chapters 1.7 Patron 1.8 Income 2. Membership 2.1 General Membership 2.2 Higher Membership 2.3 INTBAU College of Traditional Practitioners ICTP 3. Activities 4. Recent projects 5. Future projects 6. How you can support INTBAU 7. Appendices 7.1 Organisational structure diagrams 7.2 Members of Board 7.3 Members of Committee of Honour 7.4 Members of Management Committee 3 Charter The International Network for Traditional Building, Architecture and Urbanism is an active network of individuals and institutions dedicated to the creation of humane and harmonious buildings and places that respect local traditions. • • • • • Traditions allow us to recognise the lessons of history, enrich our lives and offer our inheritance to the future. Local, regional and national traditions provide the opportunity for communities to retain their individuality with the advance of globalisation. Through tradition we can preserve our sense of identity and counteract social alienation. People must have the freedom to maintain their traditions. Traditional buildings and places maintain a balance with nature and society that has been developed over many generations. -
Palladio's Influence in America
Palladio’s Influence In America Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources 2008 marks the 500th anniversary of Palladio’s birth. We might ask why Americans should consider this to be a cause for celebration. Why should we be concerned about an Italian architect who lived so long ago and far away? As we shall see, however, this architect, whom the average American has never heard of, has had a profound impact on the architectural image of our country, even the city of Baltimore. But before we investigate his influence we should briefly explain what Palladio’s career involved. Palladio, of course, designed many outstanding buildings, but until the twentieth century few Americans ever saw any of Palladio’s works firsthand. From our standpoint, Palladio’s most important achievement was writing about architecture. His seminal publication, I Quattro Libri dell’ Architettura or The Four Books on Architecture, was perhaps the most influential treatise on architecture ever written. Much of the material in that work was the result of Palladio’s extensive study of the ruins of ancient Roman buildings. This effort was part of the Italian Renaissance movement: the rediscovery of the civilization of ancient Rome—its arts, literature, science, and architecture. Palladio was by no means the only architect of his time to undertake such a study and produce a publication about it. Nevertheless, Palladio’s drawings and text were far more engaging, comprehendible, informative, and useful than similar efforts by contemporaries. As with most Renaissance-period architectural treatises, Palladio illustrated and described how to delineate and construct the five orders—the five principal types of ancient columns and their entablatures. -
Title: the Avant-Garde in the Architecture and Visual Arts of Post
1 Title: The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico Author: Fernando N. Winfield Architecture_media_politics_society. vol. 1, no.3. November 2012 Mexico City / Portrait of an Architect with the City as Background. Painting by Juan O´Gorman (1949). Museum of Modern Art, Mexico. Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque.’1 Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function.” Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the twentieth century, modern architecture was perhaps above all else, a tool for propaganda. ARCHITECTURE_MEDIA_POLITICS_SOCIETY Vol. 1, no.3. November 2012 1 2 In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque.” In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico. -
Lesson #1: Architecture Features Through the Ages
Unit Two: History of Architecture and Building Codes Lesson #1: Architecture Features Through the Ages Objectives Students will be able to… . Summarize the architecture features through Stone Ages to Neo-Classical Time. Common Core Standards LS 11-12.6 RSIT 11-12.2 RLST 11-12.2 Problem Solving/Critical Thinking 5.4 Health and Safety 6.2, 6.3, 6.4, 6.5, 6.6, 6.12 Technical Knowledge and Skills 10.1, 10.2, 10.3 Residential and Commercial Construction Pathway D2.1, D2.8, D2.9, D3.1, D3.2, D3.3, D3.4, D3.7 Responsibility and Leadership 7.4, 9.3 Materials Architecture Features Through the Ages Power Point https://documentcloud.adobe.com/link/track?uri=urn%3Aaaid%3Ascds%3AUS%3Ab4f485df -0d78-4fa9-9509-0b9ea3e1952c Architecture Features Through the Ages Worksheet Lesson Sequence . Introduce to students that a specific architectural style is characterized by a collection of design details. These details include size and shape of windows, the size and placement of a porch, and the presence or absence of columns. Review the Architecture Features Through the Ages PowerPoint with students. Have students fill in the Architecture Features Through the Ages Worksheet while reviewing the power point. Discuss and answer any questions students may have along the way. © BITA: A program promoted by California Homebuilding Foundation BUILDING INDUSTRY TECHNOLOGY ACADEMY: YEAR TWO CURRICULUM Assessment Check for understanding while presenting PowerPoint. Grade student worksheets. Reteach and clarify any misunderstandings as needed. Accommodations/Modifications Check for Understanding One on One Support Peer Support Extra Time If Needed © BITA: A program promoted by California Homebuilding Foundation BUILDING INDUSTRY TECHNOLOGY ACADEMY: YEAR TWO CURRICULUM Architecture Features Through the Ages Worksheet As you watch the PowerPoint on Architectural Features Through the Ages fill in summary with the correct answers. -
The Art of Architecture
LEARNING TO LOOK AT ARCHITECTURE LOOK: Allow yourself to take the time to slow down and look carefully. OBSERVE: Observation is an active process, requiring both time and attention. It is here that the viewer begins to build up a mental catalogue of the building’s You spend time in buildings every day. But how often visual elements. do you really look at or think about their design, their details, and the spaces they create? What did the SEE: Looking is a physical act; seeing is a mental process of perception. Seeing involves recognizing or connecting the information the eyes take in architect want you to feel or think once inside the with your previous knowledge and experiences in order to create meaning. structure? Following the steps in TMA’s Art of Seeing Art™* process can help you explore architecture on DESCRIBE: Describing can help you to identify and organize your thoughts about what you have seen. It may be helpful to think of describing as taking a deeper level through close looking. a careful inventory. ANALYZE: Analysis uses the details you identified in your descriptions and LOOK INTERPRET applies reason to make meaning. Once details have been absorbed, you’re ready to analyze what you’re seeing through these four lenses: OBSERVE ANALYZE FORM SYMBOLS IDEAS MEANING SEE DESCRIBE INTERPRET: Interpretation, the final step in the Art of Seeing Art™ process, combines our descriptions and analysis with our previous knowledge and any information we have about the artist and the work—or in this case, * For more information on the Art of Seeing Art and visual literacy, the architect and the building. -
6. After Modernity: Rohmer's Classicism and Universalism
6. After Modernity: Rohmer’s Classicism and Universalism Grosoli, Marco, Eric Rohmer’s Film Theory (1948-1953). From ‘école Schérer’ to ‘Politique des auteurs’. Amsterdam: Amsterdam University Press, 2018 doi: 10.5117/978946298580/ch06 Abstract From the outset of his career, Eric Rohmer made no secret of his preference for classicism, as far as both aesthetics in general and cinematic aesthetics in particular are concerned. One must hasten to add, however, that he never really conceived of “classic” and “modern” as two opposite concepts. Rather, he maintained that what is truly classic is also truly modern, because in either case genuine art is primarily about achieving a certain harmony with nature. What he exactly meant by this forms the main subject matter of this chapter, which also clarifies the degree to which Rohmer’s aesthetics can be called “universalist” and “anti-evolutionist”, and why. In addition, Rohmer’s views on the key notions of authorship and mise en scene are also summarily sketched. Keywords: Rohmer, classic, modern, universalism, aesthetics 6.1. Beyond modern art Rohmer’s attachment to classical tragedy is a clear token of his overt classi- cism, which can hardly be accounted for as orthodox and one-dimensional. For him, ‘classicism’ and ‘modernity’ are not necessarily opposite. In order to clarify this issue, it is again useful to draw upon Kant, since the critic’s classicism and his peculiar, idiosyncratic Kantism ultimately shed a decisive light on each other. For one thing, Rohmer does not connect cinema and Kantian aesthetics in a straightforward way. Contrary to what the previous chapter(s) might have suggested, in spite of cinema’s capability to attain artistic and natural beauty and to tackle freedom, it would be too simplistic to maintain that Rohmer regarded cinema simply as the perfect match to Kant’s ideas on aesthetics. -
Architecture Terms
Architecture Terms ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● What is Architecture What is Architecture Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief" and τέκτων "builder") is both the process and the product of planning, designing, and constructing buildings and other physical structures. Form as defined by the book- an object that can be defined in 3 dimensions. Informal- not according to the prescribed, official, or customary way or manner; irregular; unofficial: FORMAL-INFORMAL Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief" and τέκτων "builder") is both the process and the product of planning, designing, and constructing buildings and other physical structures. FORMAL-INFORMAL Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief" and τέκτων "builder") is both the process and the product of planning, designing, and constructing buildings and other physical structures. FORMAL-INFORMAL Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief" and τέκτων "builder") is both the process and the product of planning, designing, and constructing buildings and other physical structures. FORMAL-INFORMAL Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief" and τέκτων "builder") is both the process and the product of planning, designing, and constructing buildings and other physical structures. FORMAL-INFORMAL Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief" and τέκτων "builder") is both the process and the product of planning, designing, and constructing buildings and other physical structures. FORMAL-INFORMAL Architecture (Latin architectura, from the Greek ἀρχιτέκτων arkhitekton "architect", from ἀρχι- "chief" and τέκτων "builder") is both the process and the product of planning, designing, and constructing buildings and other physical structures. -
Timber Use in the Chinese Gardens and Architecture
Timber Use in the Chinese Gardens and Architecture 木材在中国园林及建筑中的应用 Ying JIANG 2012.05 CAUPD CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 • 2 The development of timber constructions in ancient China • 木结构建筑在中国古代的发展 • 3 The development of timber constructions in ancient China • 木结构建筑在中国近现代的发展 • 4 The advantages of timber • 木材的优点 • 5 Conclusion • 结语 CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 In the ancient times, the weather and geographical condition is suitable for growing Climate plants in the Yellow River basin. 气候 Hydrology 水文 Geography The dense forest and river here make it easy to get raw 地理 materials and transport them. CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 Cutting easy Timber becomes 采伐容易 the first choice to build houses processing easy because it is lighter 加工容易 and more easily to cut and process. Light weight 重量轻 Mining hard 开采困难 processing hard 加工困难 heavy weight 重量沉 CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 The Chinese philosophy- Taoism believes that the basic substances metal that compose the world are metal, wood, water, fire and soil, and each of them corresponds to one of the five direction. Soil represents Central on behalf of the load of all earth things and soil would have a earth water high status. Five elements of wood represent east and symbol of spring and vitality; while Gold acting on behalf of the West and a symbol of force and punishment to kill; water, fire for the intangible thing, therefore, the five elements fire wood represent the most advocates of the five substances, only "soil" and "wood" is the most suitable for the construction of housing people live.