eBooks de Teoría y crítica de arquitectura, página 4 de 47

El libro aporta la experiencia profesional del autor como Arquitecto y Profesor Titular de Matemática y Construcciones de la Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires, y su vocacion por tratar de abarcar los procesos pedagogicos y didacticos que rigen la enseñanza y el aprendizaje. Por todo ello, esta obra puede considerarse un aporte original y especifico para el desarrollo de la topologia aplicada,, que tiene como principales destinatarios a integrantes de unidades academicas dedicadas a la enseñanza del diseño, tanto estudiantes como docentes.

O campo de conhecimento e atuaço da arquitetura e do urbanismo se envolve com diversas escalas de observaço. Este livro apresenta olhares que se debruçam sobre tres dessas escalas: a arquitetura do espaço fechado, a arquitetura do espaço livre e a arquitetura da cidade. Observou-se nas duas primeiras partes uma arquitetura do ponto de vista tipologico, especialmente em seus exemplos dedicados a expresso religiosa, empresarial, emergencial, de parques e praças, por meio de experimentaçes projetuais. Com isso, busca-se fomentar a investigaço cientifica por meio do ato e da habilidade de desenvolver projetos do espaço, um dominio valorizado na formaço do arquiteto urbanista. O terceiro olhar foca a interlocuço do planejamento urbano e da historia urbana, por meio de pesquisa em fontes documentais que revelam as continuidades das politicas de desenvolvimento urbano, com destaque para as politicas regionais amazonicas e das cidades de porte medio. O livro evidencia a necessidade de articulaço entre os diversos campos da arquitetura e do urbanismo como forma de instigar açes privadas e publicas para a construço do habitar humano de qualidade, valorizando as multiplas satisfaçes e os desejos que os grupos sociais demandam.

TopDesign e un libro raccolta con immagini ad alta risoluzione di prodotti selezionati nel settore arredamento, illuminazione e moda. Tutti i prodotti pubblicati sono realizzati dai migliori designers emergenti in modo artigianale, artistico e con contenuti stilistici e tecnici innovativi. Il libro TopDesign e rivolto agli artichetti, agli interior designers o agli appassionati di design, il lettore potra trovare su ogni pagina tutti i riferimenti (email. web e facebook) per contattare direttamente gli artisti.

TopDesign e una raccolta dei migliori prodotti di design dellanno selezionati tramite un contest online.La selezione e stata effettuata in base a criteri estetici, funzionali e al grado di innovazione nei materiali, nelle finiture e nelle tecniche di produzione.Il risultato e un libro di pezzi unici al confine tra arte e design composto da 176 immagini di 55 opere inedite realizzate da artisti di 19 diversi Paesi.Questo libro e rivolto sia al professionista in cerca di nuovi prodotti particolari e al tempo stesso di qualita, sia allappassionato di arredamento, illuminazione, lifestyle e moda.Il lettore trovera in ogni pagina tutti i riferimenti utili per poter contattare lideatore del manufatto.TopDesign is a collection of the best design products of the year selected through an online contest.The selection has been made according to aesthetic and functional criteria, degree of innovation in materials used, in finishing and in production techniques.The result is a book of unique products at the border between art and design, with 176 images of 55 unreleased products made by artists from 19 diffent Countries.This book is addressed to professionals looking for new special fine products, but also to whom loves furniture, lighting, lifestyle products and fashion.The reader will find on each page all the references to contact the creator of the product.

In "The Turkish Bath, Its Design and Construction," Robert Owen Allsop navigates the intricate world of architectural design through the lens of one of the most culturally significant communal spaces. This meticulously researched work interweaves a thorough analysis of the historical evolution of Turkish baths with contemporary architectural practices, showcasing Allsops adeptness at marrying traditional design elements with modern functionality. With a focus on light, space, and sensory experience, the book employs a descriptive yet accessible literary style, making it an essential text for both architects and historians alike, revealing the baths role not just as a physical structure but as a social hub throughout various cultures. Robert Owen Allsop, an esteemed architect and scholar with a profound appreciation for cross-cultural design, draws from his extensive background in environmental architecture. His travels through the Middle East and his appreciation for communal rituals bolstered his desire to explore and document the socio-cultural significance of the Turkish bath. AllsopAos work is informed by both practicality and a reverence for historical contexts, positioning him uniquely to bring this subject to life. This book is highly recommended for professionals in architecture and design, cultural historians, and anyone with a keen interest in historical architecture. Allsops insights challenge readers to consider the Turkish bath not just as a building, but as a living testament to cultural exchange and human connection.

The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work done by the other arts is put to test. This knowledge is the child of practice and theory. Practice is the continuous and regular exercise of employment where manual work is done with any necessary material according to the design of a drawing. Theory, on the other hand, is the ability to demonstrate and explain the productions of dexterity on the principles of proportion.

IT is not to the stalwart Celtic tribes which Csar found scattered about the low-lying sandy plain which stretches along the coast from the mouth of the Rhine to the Canche that this part of Europe owes either its name or its greatness.The Menapii and the Morini, the bravest of them all and the last to withstand the Roman legions, were at length compelled to bend their necks beneath the yoke of Romes enervating and effete civilization, and when, four centuries later, a whirlwind of Northern barbarism had swept the land, only a handful of them, sparsely scattered, abject, cringing, hidden away in forest and marsh, were left to tell the tale.The civilization of Rome had been clean wiped out in that quarter of Europe. Silence unbroken settled down on the land, and for two hundred years the Latin-Celts of the Netherlands slipped out of the worlds memory.It was not until the middle of the six hundreds that men began once more to think of them. The cause of their reappearance upon the stage of European history is chronicled for us in a contemporary life of St. Amand, Bishop of Bourges

Of all the buildings in Venice, later in date than the final additions to the Ducal Palace, the noblest is, beyond all question, that which, having been condemned by its proprietor, not many years ago, to be pulled down and sold for the value of its materials, was rescued by the Austrian government, and appropriatedthe government officers having no other use for itto the business of the Post-Office; though still known to the gondolier by its ancient name, the Casa Grimani. It is composed of three stories of the Corinthian order, at once simple, delicate, and sublime; but on so colossal a scale, that the three-storied palaces on its right and left only reach to the cornice which marks the level of its first floor. Yet it is not at first perceived to be so vast; and it is only when some expedient is employed to hide it from the eye, that by the sudden dwarfing of the whole reach of the Grand Canal, which it commands, we become aware that it is to the majesty of the Casa Grimani that the Rialto itself, and the whole group of neighboring buildings, owe the greater part of their impressiveness.

The decay of the city of Venice is, in many respects, like that of an outwearied and aged human frame; the cause of its decrepitude is indeed at the heart, but the outward appearances of it are first at the extremities. In the centre of the city there are still places where some evidence of vitality remains, and where, with kind closing of the eyes to signs, too manifest even there, of distress and declining fortune, the stranger may succeed in imagining, for a little while, what must have been the aspect of Venice in her prime. But this lingering pulsation has not force enough any more to penetrate into the suburbs and outskirts of the city; the frost of death has there seized upon it irrevocably, and the grasp of mortal disease is marked daily by the increasing breadth of its belt of ruin.

Since the first dominion of men was asserted over the ocean, three thrones, of mark beyond all others, have been set upon its sands: the thrones of Tyre, Venice, and England. Of the First of these great powers only the memory remains; of the Second, the ruin; the Third, which inherits their greatness, if it forget their example, may be led through prouder eminence to less pitied destruction.The exaltation, the sin, and the punishment of Tyre have been recorded for us, in perhaps the most touching words ever uttered by the Prophets of Israel against the cities of the stranger. But we read them as a lovely song; and close our ears to the sternness of their warning: for the very depth of the Fall of Tyre has blinded us to its reality, and we forget, as we watch the bleaching of the rocks between the sunshine and the sea, that they were once as in Eden, the garden of God.Her successor, like her in perfection of beauty, though less in endurance of dominion, is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weakso quiet,so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow.I would endeavor to trace the lines of this image before it be for ever lost, and to record, as far as I may, the warning which seems to me to be uttered by every one of the fast-gaining waves, that beat, like passing bells, against the Stones of Venice.

Some years ago, in conversation with an artist whose works, perhaps, alone, in the present day, unite perfection of drawing with resplendence of color, the writer made some inquiry respecting the general means by which this latter quality was most easily to be attained. The reply was as concise as it was comprehensive"Know what you have to do, and do it"comprehensive, not only as regarded the branch of art to which it temporarily applied, but as expressing the great principle of success in every direction of human effort; for I believe that failure is less frequently attributable to either insufficiency of means or impatience of labor, than to a confused understanding of the thing actually to be done; and therefore, while it is properly a subject of ridicule, and sometimes of blame, that men propose to themselves a perfection of any kind, which reason, temperately consulted, might have shown to be impossible with the means at their command, it is a more dangerous error to permit the consideration of means to interfere with our conception, or, as is not impossible, even hinder our acknowledgment of goodness and perfection in themselves.

The Spanish Empire, historically known as the Hispanic Monarchy and as the Catholic Monarchy, was one of the largest empires in history. From the late 15th century to the early 19th, Spain controlled a huge overseas territory in the New World and the Asianarchipelago of the Philippines, what they called "The Indies". It also included territories in Europe, Africa and Oceania. The Spanish Empire has been described as the first global empire in history, a description also given to the Portuguese Empire. It was the worlds most powerful empire during the 16th and first half of the 17th centuries, reaching its maximum extension in the 18th century. The Spanish Empire was the first empire to be called "the empire on which the sun never sets".

In "The Repair of Casa Grande Ruin, Arizona, in 1891," Cosmos Mindeleff meticulously documents the restoration efforts of this iconic archaeological site, combining keen observation with a rich narrative style that interweaves historical context and architectural insight. The text serves not only as a detailed account of the restoration process but also as an exploration of the significance of Casa Grande as a cultural landmark in the American Southwest. Mindeleff employs a descriptive approach, illustrating the structuresAo grandeur while addressing the challenges posed by nature and time, situating the work within the broader discourse of preservation and respect for Indigenous heritage. Cosmos Mindeleff, an influential architect and ethnologist, dedicated his career to the study of Native American sites. His deep commitment to cultural preservation and his extensive experience with various archaeological projects fueled his passion for this endeavor. MindeleffAos unique background allowed him to approach the Casa Grande Ruin not merely as an architect but as a steward of its historical and cultural significance, shedding light on the nuanced identity of the Native American communities that created it. This book is an essential read for historians, archaeologists, and anyone interested in the intersection of architecture and cultural heritage. MindeleffAos vivid prose and expert insights encourage readers to appreciate the intricate tapestry of history woven into the fabric of Casa Grande. Through his meticulous account, readers will not only gain knowledge but also a deep respect for the efforts required to preserve this cultural treasure.

Amongst the vestiges of antiquity which abound in this country, are the visible memorials of those nations which have succeeded one another in the occupancy of this island. To the age of our Celtic ancestors, the earliest possessors of its soil, is ascribed the erection of those altars and temples of all but primeval antiquity, the Cromlechs and Stone Circles which lie scattered over the land; and these are conceived to have been derived from the Phnicians, whose merchants first introduced amongst the aboriginal Britons the arts of incipient civilization. Of these most ancient relics the prototypes appear, as described in Holy Writ, in the pillar raised at Bethel by Jacob, in the altars erected by the Patriarchs, and in the circles of stone set up by Moses at the foot of Mount Sinai, and by Joshua at Gilgal. Many of these structures, perhaps from their very rudeness, have survived the vicissitudes of time, whilst there scarce remains a vestige of the temples erected in this island by the Romans; yet it is from Roman edifices that we derive, and can trace by a gradual transition, the progress of that peculiar kind of architecture called Gothic, which presents in its later stages the most striking contrast that can be imagined to its original precursor.

"The best things in an artists work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist." Thus writes Harold Speed in the very first line of his introduction to the book in which deconstructs the process of drawing by subjecting it to lucid intellectual inquiry. Published in 1913, "The Practice and Science of Drawing" balances its practical advice with technical insight: a necessary manual for those who wish to master the elements of classical drawing.

In "The Poetry of Architecture," John Ruskin offers a profound exploration of the aesthetic and moral dimensions of architecture. Comprising a collection of essays and critiques, Ruskin employs a lyrical prose style that intertwines his admiration for the Gothic architectural tradition with philosophical reflections on beauty and truth. His keen observations reveal how architecture serves as a reflection of a societys values, capturing the interplay between form and function in a rapidly industrializing world. The book stands as a crucial commentary during the Victorian era, affirming the emotive power of structures amidst the mechanical progress of the 19th century. John Ruskin, a leading art critic and social thinker, was notably influenced by his early exposure to nature and art. His simultaneous roles as an architect, painter, and passionate advocate for the preservation of the past infused his work with a unique perspective. These experiences cultivated his belief in the intrinsic connection between natural beauty and artistic creation, prompting a desire to articulate architectures deeper significance in society. Recommended for scholars and enthusiasts of architecture, art history, and Victorian culture, "The Poetry of Architecture" invites readers to rediscover the emotional resonance of built environments. Ruskins eloquent prose and profound insights will undoubtedly encourage a more thoughtful appreciation of architectures role in shaping human experience.

In "The Poetry of Architecture," John Ruskin presents a profound exploration of the relationship between architecture and the human experience. Through a lush and evocative literary style, Ruskin argues that buildings embody artistic principles akin to poetry, engaging the observers emotions and intellect. This work, emerging from the Victorian context of rapid industrialization and societal change, critiques the mechanization of architecture while celebrating its potential as a vessel of beauty and moral integrity. Ruskins philosophical musings blend aesthetic theory with practical observations, making the text a seminal contribution to both architectural theory and the broader field of environmental aesthetics. John Ruskin, an influential art critic, social thinker, and philanthropist, drew from a rich tapestry of experiences that informed his architectural philosophy. His upbringing in a cultured environment and education in the arts nurtured his passion for nature and craftsmanship. Ruskins profound appreciation for Gothic architecture and historical styles voiced a call for a return to more authentic forms amidst the desolation of industrial architecture, which he viewed as detrimental to both society and the psyche. "The Poetry of Architecture" is an essential read for anyone interested in the intersection of art, architecture, and society. This work not only stimulates scholarly discussion but also inspires modern readers and architects to reconceptualize their approach to design. By inviting us to perceive buildings as living narratives, Ruskins insights remain relevant, encouraging a deeper appreciation for the built environment around us.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- An Author Biography reveals milestones in the authors life, illuminating the personal insights behind the text.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

The Science of Architecture, followed out to its full extent, is one of the noblest of those which have reference only to the creations of human minds. It is not merely a science of the rule and compass, it does not consist only in the observation of just rule, or of fair proportion: it is, or ought to be, a science of feeling more than of rule, a ministry to the mind, more than to the eye. If we consider how much less the beauty and majesty of a building depend upon its pleasing certain prejudices of the eye, than upon its rousing certain trains of meditation in the mind, it will show in a moment how many intricate questions of feeling are involved in the raising of an edifice; it will convince us of the truth of a proposition, which might at first have appeared startling, that no man can be an architect, who is not a metaphysician.

Throughout history, the force of gravity rendered the right angle sacrosanct in the world of architecture. However, as the 20th century dawned, the long-simmering diagonal motif finally arrived full force and upended the fields of architecture, design, and the fine arts. This book summarizes the authors 60-year study of this revolutionary geometric motif and highlights how it is tied to social upheavals and artistic movements. Once people understand the concept of Diagonality, they will begin to see its angled planes on street corners, in art museums, and possibly in everyday objects. Diagonality has been all around us but hidden in plain sight.

Great book over the entire history of the Panamal Canal.