What people are saying - Write a review
Other editions - View all
Adolf Loos Aldo Rossi Amsterdam analysis archi Archigram architect architecture aspects axes axis Beaux-Arts Beemster Bernard Tschumi blocks building building's built form canal ring century Chapter classical components composition concept concrete construction context Corbusier cultivated landscape Delft dike dwelling elements example existing facade floor plan formal Frankfurt function functionalist garden geometric system grid ideal city ideas industrial Kahn Koolhaas layers layout Le Corbusier lines loadbearing Loos Louis Kahn mass material means medieval morphological reduction natural object Oblique projections organization Palladio Paris park pattern peat peatlands perspective polder position principle projection Quatremere rational architecture relation relationship Rem Koolhaas Renaissance residential Romerstadt rooms route Salk Institute shape spatial square Stourhead streets structure surroundings symmetry technique tecture terrace town transformation Tschumi typological diagram typological levels typology urban design urban fabric urban space Villa Rotonda Villa Savoye visual walls zones
Page 133 - ... of a thing to copy or imitate completely than the idea of an element which ought itself to serve as a rule for the model... The model, as understood in the practical execution of the art, is an object that should be repeated as it is; the type, on the contrary, is an object after which each (artist) can conceive works of art that may have no resemblance. All is precise and given in the model; all is more or less vague in the type.
Page 121 - Gothic times, architects built in solid stones. Now we can build with hollow stones. The spaces defined by the members of a structure are as important as the members. These spaces range in scale from the voids of an insulation panel, voids for air, lighting and heat to circulate, to spaces big enough to walk through or live in. The desire to express voids positively in the design of structure is evidenced by the growing interest and work in the development of space frames.
Page 133 - Nothing, in any genre, comes from nothing, and this must apply to all of the inventions of man. Also we see that all things, in spite of subsequent changes, have conserved, always visibly, always in a way that is evident to feeling and reason, this elementary principle, which is like a sort of nucleus about which are collected, and to which are coordinated in time, the developments and variations of forms to which the object is susceptible.
Page 113 - If we eliminate from our hearts and minds all dead concepts in regard to the house, and look at the question from a critical and objective point of view, we shall arrive at the
Page 163 - The site is as pleasant and as delightful as can be found, because it is upon a small hill, of very easy access, and is watered on one side by the Bacchiglione, a navigable river; and on the other it is encompassed with most pleasant risings, which look like a very great theatre, and are all cultivated, and abound with most excellent fruits, and most exquisite vines: and therefore, as it enjoys from every part most beautiful views, some of which are limited, some more extended, and others that terminate...
Page 56 - The new architecture is anti-cubic, that is to say, it does not try to freeze the different functional space cells in one closed cube. Rather, it throws the functional space cells (as well as the overhanging planes, balcony volumes, etc.) centrifugally from the core of the cube.
Page 73 - The private rooms are those into which nobody has the right to enter without an invitation, such as bedrooms, timing rooms, bathrooms, and all others used for the like purposes. The common are those which any of the people have a perfect right to enter, even without an invitation : that is, entrance courts, cavaedia, peristyles, and all intended for the like purpose.
Page 112 - He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet on the floor and the tapestry on the wall require a structural frame to hold them in the correct place. To invent this frame is the architect's second...
Page 113 - HouseMachine," the mass-production house, healthy (and morally so too) and beautiful in the same way that the working tools and instruments which accompany our existence are beautiful.