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David Dunster 《Architectural Design》2005,75(4):86-91
Throughout his lifetime, the Austrian-born artist, maker and recluse Walter Pichler has defied an easy understanding of his work or its purpose. ‘Coming into contact with any product [of Pichler's],’ writes critic David Dunster , ‘elicits for me the sensation of a chilling proximity to the inevitable.’ Pichler, the practitioner of personal obsessions, ‘created a commentary that is far from private but retains the nature of an archetypal investigation’. In a rare look at his work, Dunster here offers us an eloquent personal insight that stirs a potent array of emotion. Copyright © 2005 John Wiley & Sons, Ltd. 相似文献
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Albert Pope 《Architectural Design》2012,82(5):80-87
Albert Pope argues that a unified architectural and urban project is not possible without addressing the conceptual divide that exists between building and infrastructure. It is a split that was first set in motion by the breakdown of Modernism in the 1960s and was reaffirmed by the rise of Postmodernism. Since then, architectural form and urban infrastructure have not only remained disjointed, but have been overtly celebrated by the collages and juxtapositions of the contemporary and the historic in our cities. 相似文献
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博罗米尼是盛期巴洛克的代表建筑师,他的建筑语言充满了动感、节奏、秩序。他从哥特式建筑中汲取结构特性,向帕拉迪奥学习古典元素,并将建筑和雕刻艺术充分结合。他赋予建筑前所未有的动感,创造出全新的空间体验和装饰母题,而这一切都是在严格遵循法度的基础上取得的。 相似文献
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Andrew Saunders 《Architectural Design》2016,86(6):34-41
Roughly translatable as ‘mood’ or ‘atmosphere’, Stimmung plays a key part in the late-19th-century writings of German art historians Wölfflin and Riegl. Andrew Saunders , Associate Professor of Architecture at the University of Pennsylvania School of Design, studies the origins of the concept, which links rational perceptions of harmony with notions of emotional response. He examines the two writers' contrasting views of Stimmung in relation to the Baroque, and highlights its little acknowledged role in the inception of formalism. 相似文献
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Andrew Saunders 《Architectural Design》2009,79(1):132-135
Andrew Saunders describes how students on Rensselaer School of Architecture's Rome programme were encouraged to explore the geometry and mathematics that underlie the architecture of the Baroque through parametric design. Copyright © 2009 John Wiley & Sons, Ltd. 相似文献
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Léa-Catherine Szacka 《Architectural Design》2011,81(5):98-105
The first Venice Architecture Biennale in 1980 provided a vital springboard for Post-Modernism, providing it with an international stage. The Strada Novissima, with its facades by eminent architects of the time, is now a seminal image of 20th-century architecture. As Léa-Catherine Szacka explains, the prominence given to the past in the show's theme was a point of contention among the exhibition's organisers. This has had an enduring impact on architectural culture to this day. Copyright © 2011 John Wiley & Sons, Ltd. 相似文献
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Robert Harbison 《Architectural Design》2010,80(2):44-49
Robert Harbison defines the Baroque in the 17th and early 18th centuries, which is so often characterised in contrast with the Renaissance by its excess and drama. In doing so, he challenges the reader to consider whether this artful style of subversion, tension, movement, gravity-defying feats and freedom was really one of whimsical frivolity or subversive disquiet. Copyright © 2010 John Wiley & Sons, Ltd. 相似文献
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解决集中式教堂与教礼的矛盾是巴洛克建筑所要面对的关键问题。本文以波罗米尼设计的两座教堂为例,探讨他以独特的设计手法对这一问题的回应。 相似文献
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Visiting Italy in 1978 as part of his own Grand Tour, Lebbeus Woods was able to see some of the treasures of the Renaissance and the Baroque. The ensuing mix of reality and imagination prompted the Editors of this 2, Aleksandra Wagner and Neil Spiller , to consider the visual travelogue –Cityscapes – in a similar manner, combining speculation and truth. 相似文献
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